Muffitt's Triple

Timothy Muffitt began the Lansing Symphony’s season opening concert Saturday night with an old chestnut, Overture to Donna Diana by Reznicek. This used to be standard concert fare but is now rarely heard. The overture was a joy. It was spirited and Muffitt’s very fast tempo left the audience (and orchestra, I suspect) breathless. It was a bit ragged at times, but that didn’t diminish the fun the piece communicated. What a rousing way to begin the season!
The excitement for the evening, however, was the homecoming of Lansing wunderkind cellist, Tanya Ell. A graduate of Okemos High School, the 32-year-old Ell now plays with the Cleveland Orchestra. She formed a piano trio with two musical friends (Diana Cohen, violin and Renana Gutman, piano) and the Trio Terzetto made a CD and has many gigs. They were the featured artists in the LSO performing of the Beethoven Triple Concerto in C Major.
Ell was impressive when she displayed her wonderful and intense cello tone. Each individual member of the trio had a time to show “her stuff” during the Beethoven and the entire ensemble was tight and expressive. Cohen’s violin playing was vibrant and Gutman’s piano skills were strong and musical. She acted as the catalyst between the orchestra and the soloists.
The piece itself, however, was unimpressive. Maybe three instruments are too clumsy to be the soloists for a concerto, or maybe Beethoven had gone back to an earlier model of the orchestra simply playing oom-pa-pas for the accompaniment. Also, Wharton Center (at least from the balcony) was not kind in showing the clarity of the ensemble. Toward the end of the piece, I wanted to just hear the fine Trio Terzetto without the orchestra.
The program ended with the sublime Brahms Symphony No 2, and in comparison to the Beethoven it was even more emotional and expressive than I remember. In addition to the long melodic lines, Muffitt also strengthened the inner voices which added texture to the work.
The low strings were warm and dark in those unforgettable Brahms’ chords. Muffitt had hornist Janine Gabory take a special bow at the end, but I feel flutist Richard Sherman and oboist Jan Eberle should have stood also.
The overall sound of the LSO was confident and balanced and Muffitt led them through a highly nuanced reading of the Brahms. Everything pointed to another great Lansing Symphony season.

My Soggy Weekend in Nashville

My friends in Nashville had been imploring me to come visit their beloved Nashville Symphony in its new hall, the spectacular Schermerhorn Symphony Center, for years.

As luck would have it, the weekend that I took them up on their offer was the weekend of the largest flood in Nashville's recent history. Despite 36 hours of torrential rains and another 36 hours of living with no electricity, it was a surprisingly memorable weekend on many levels.

Nashville is a beautiful city, nestled amongst green hills, horse farms, and - yes - rivers. Many folks think that Nashville is the home of country music ONLY. Let me firmly say: that is not the truth! The mid-south city calls itself Music City for a reason. The symphony orchestra is impressive and there is chamber music, jazz, ragtime and of course country music galore. It seems like everybody within the city limits makes music in some fashion.

The town is justifiably proud of its four-year old concert hall. Named for the orchestra's recently deceased, long-time conductor, the $120 million (paid off) Schermerhorn Center is a neo-classical building with a stunning interior. It opened in 2006 to rave reviews from across the country for its acoustics and technical innovations. The 1800-seat main hall is a "shoe-box" design which is known for excellent acoustics.

Similar to the Dallas Meyerson Symphony Hall, the orchestra sits out in the audience, with about 200 seats behind the orchestra and in front of the 3500-pipe organ.

While most modern halls make a daring architectural statement, the new Schermerhorn is staid, classic and understated - and in a way the designers took a chance. Most donors want to see a bang for their buck and 120 million is quite a lot of bucks - especially since the orchestra only has a budget of (give or take) $12 million (by contrast, Detroit is $29 mil.).

But the fact that the hall was built and paid for shows a great commitment to the arts by the city of Nashville and reveals the substantial financial health of the community.

The interior of the hall is open, sunny (yes there are windows that allow natural light to creep in) and comfortable. And let's not forget about the acoustics. The music sounds immediate, live and the notes pop out at the audience. Although the sound is balanced and warm, it may be a bit too resonant - I would have to hear more music in there to say for sure.

The concert I heard featured the orchestra's new conductor, the energetic Giancarlo Guerrero conducting a program of Chopin and Mahler.

The Piano Concerto No. 2 of Chopin featured young pianist Ingrid Fliter, playing fluidly and with passion. I was quite disappointed in the music however, as the orchestra had little material to communicate with the soloist. It did not compare with the great concertos of Brahms or Beethoven. Guerrero did not seem to be engaged either. The timpanist's (positioned directed opposite the conductor and hard to miss) playing lacked definition and tone quality.

Following the concerto, the stage's elevator stealthy lowered the $130 thousand Hamburg Steinway grand to the lower level, making the orchestra set up for the Mahler easy.

After intermission, the orchestra was superb as they performed the demanding Symphony No. 5 by Mahler. Challenging the ensemble at every level, the Mahler was exciting and dramatic. It revealed a confident brass section, but a relatively weak violin section. This is Guerrero's first year. I am certain changes will be made.

Mahler's music is raucous, romantic, Klezmerish, and soloistic. Guerrero brought forth grand musical gestures and great passion.

As we left the concert, exiting into the non-stop rain, we went to our friends' house which is perched on a hill. Another couple joined us for dessert, leaving afterward to return to their house. 30 minutes later they rang the doorbell saying that the roads were under water - could they sleep over?

So for the next two days, three couples shared one house with no electricity, heat, air-conditioning, TV, Internet, or land-line phones. The grocery store located nearby was being run on generators, so dozens of people were sitting on their lawn chairs on the outside of the store, using the outside outlets to plug in powerstrips and give juice to their laptops and charge their phones.

Sadly we heard that the two gorgeous grand pianos and the organ console stored in the basement of the Schermerhorn Center were destroyed by the flood waters. The hall was closed until further notice.

Meanwhile back at the house, the three couples found ways to amuse ourselves. We were forced to connect - to talk with each other without interruption, take walks, read, play music and play cards. We had no choice but to relax. The gas stove and propane grill provided food and we all got to know each other again, for the first time.

When the lights burst open after 35 hours of darkness, we made a pact to get together next year, on the first weekend of May, to have three days of quiet and peace.

It was a weekend I won't soon forget.

Old Town Surprise

What a lovely way to spend a Friday evening!

Richard Sherman, flutist extraordinaire (principal flute Lansing Symphony; professor of flute, MSU, etc.), created a series of chamber music concerts which takes place at Absolute Gallery in Old Town, Lansing. Aptly, the series is called Absolute Music.

This, its first season, had six concerts, featuring all manner of chamber music; piano four hands, woodwind music, voice, narration, and others. The concert I heard featured ICARUS, a trio made up flute, piano and cello - an ensemble you don't hear often.

The music was played in large area which is part of Absolute Gallery. The atmosphere was perfect for chamber music with the room's old brick walls, art of various types festooning the walls, and the building's original tin ceiling (probably from at the turn of the century) completing the look. The sound was a bit of a problem, though. It was very live and sometimes harsh because the only soft things in the room were our bodies and clothes.

But the music and the performances were sublime. Besides Sherman, Robert deMaine, cellist, is principal chair for the Detroit Symphony and pianist James Wilhelmsen, who received at DMA from U of M is in charge of the Clarkston Conservatory.

As an ensemble, Icarus was passionate, virtuosic and driven. The programming featured the works of Hummel, Saint-Saens (four pieces by Saint-Saens - but lots of variety) and the best, a piece by American composer Normal Dello-Joio. And the exciting encore featured a pulsating tango by Astor Piazzolla, the modern king of tangos.

Here's hoping that next year they will be able to add some kind of platform for the musicians to play on. As of now, only the first few rows of the audience were able to see the players do their magic.

Besides the ensemble, we also got a chance to hear two solo pieces played by deMaine, and two played by Sherman.

The live acoustics of the hall sometimes had a detrimental effect on the music. Although Wilhelmsen is an excellent pianist, his playing was often very loud and even bangy. This was caused, no doubt, by the acoustics, since he was very musical otherwise. Sometimes in the Hummel especially, the flute was hidden entirely.

During the refreshing Dello Joio, however, the orchestration was so elegant that each instrument was able to shine without being encumbered, despite the hall.

Throughout the concert, I was impressed by the ravishing tone and probing musicianship of cellist deMaine. Although I have heard Saint-Saens' The Swan countless times, under his fingers the music had new life and new emotions.

The hall was packed with about 70 listeners, the grand piano was donated by Marshall Music, and the food at intermission was from Noodles and Company. And the best part is that Sherman announced that Absolute Music has enough funding to continue for another year. BRAVO!

Chamber music is tough to do. It needs the right hall, the right musicians, and the right audience. Sherman hit a home run on all three counts. I'll announce next year's season as soon as I hear.

Chorus Line Review

Back in 1975 (Gerald Ford was President) when it opened on Broadway, A Chorus Line was a sensation. It was the dancers' anthem. However when I saw it at the MSU University Auditorium sometime in the late 70s I was disappointed. No sets to speak of, no relationships between people, no costume changes. What was all the fuss about?

Last night began a week-long run of the national company of the 2006 arrival and I saw much more in it that I did back then. Maybe I'm older and wiser and maybe I know the music better, but I found the show to be full of moving personal stories and pathos.

Yes, the show is still unique - surely a singular sensation. The well-known story is about a stage full of dancers auditioning for a Broadway show. They are quickly winnowed down to 24. During the screening process, the director proceeds to ask them to share stories about themselves.

The director is unseen, but we hear his voice asking questions to the quivering candidates. It is fascinating how his character is developed and how important he is to the story, although we very rarely see him.

Each would-be dancer tells why dancing and performing is crucial to his or her life. The stories are compelling and real, the lighting is dramatic, and the other dancers act as props, scenery and audience.

The show speaks to all of us. When the characters cry "Oh God, I need this job", and "Who am I? Am I my resume?" we think of all the millions of American looking for work.

Although the cast is largely young and inexperienced , they are all passionate about the show and their characters. On opening night, the sound was very amateurish. The pit band (backstage) was not mixed well, often blanketing the voices, which appeared thin and unsupported.

It was a two hour, no intermission production which was good. The story and the great music (Marvin Hamlisch) grabs you and the evening is over before you know it.

Some standouts were Selina Verastigui who stopped the show with "What I Did For Love" and "At the Ballet"; Andy Mills for everyone's favorite "I Can Do That" and Derek Hanson as the driven but sensitive director, Zach.

Rebecca Riker who plays the fallen showgirl, Cassie lacked the edge the character needed. In Chorus Line terms I'd give her a Voice: 9, Dance: 3. In her memorable solo piece, her dance is meant to project what a superstar she is on the stage - one who can never be in a chorus line. Instead, it lacked energy, excitement and star quality.

Yes, this 30-year old show has some elements of "datedness", but over all it remains a real and dramatic window into the world of dancers (or actors or musicians or accountants) in trying to find a place for themselves in the adult world.

PEAKE: The Rest Of The Story

An abbreviated version of this story appeared in the Lansing State Journal on Monday, 3/22/10. Now, please enjoy the full story of Nathaniel Peake winning the coveted MET audition.

It's been less than two years that tenor Nathaniel Peake was singing on the stage at Fairchild Theater as a member of the Michigan State University Opera Theatre. He received his masters of music at MSU in May of 2008. Yet on March 14, Nathaniel was striding the most important opera stage in the world - the boards of the Metropolitan Opera in New York City. It was his final audition for the MET's 2010 National Council Grand Finals.

28-year-old Peake from Humble Texas said, "I walked on the stage and the chandeliers looked like stars. It was a full house that day and when I looked out at the hall, I imagined that this is how a place in heaven would look."

Peake's MSU vocal teacher Richard Fracker said, "When I saw who got into the finals, I thought that he had a really great chance. I knew his musicianship was going to shine. You've got ten minutes to make your case."

The young tenor had tried the MET auditions before, but never made it beyond the district level. In this year, nearly 1500 singers participated in 45 districts and 15 regionals throughout the US and Canada. This highly competitive audition process was featured in the acclaimed documentary "The Audition" that was shown on PBS and is now on DVD.

Instead of being ravaged by nerves for his final audition, Peake decided to enjoy the moment. "I knew I wouldn't get it, so I wasn't even thinking about the competition. I just decided to enjoy the moment; singing with the awesome MET orchestra in front of a house that included every opera decision maker in the world. The thrill could be addictive.

"I watched the athletes during the Olympics and thought that you can let the situation control you, or you can control the situation. Also I was aware of all the people, family and friends, who were supporting me. I just sang from my heart."

After he sang his arias, Peake was standing backstage listening to presenters, he thought, read off the names of the final nine participants. What was happening, however, was the reading of the winners of the ultimate prize. And his name was read.

"I seriously could not believe it and still can't.'

Melanie Helton, director of the MSU Opera Theatre can believe. "I first heard Nathaniel when he was 18 in Houston. And even then, he had a sound that was melting. Now, Nathaniel is one of the most musical singers I've ever known. And since he left MSU, he hasn't stopped working, which is quite an achievement for a young singer."

Upon graduation, Nathaniel was accepted at the San Francisco Opera's Merola Opera Program, is now with the Houston Grand Opera Studio and will join the Wolf Trap Opera this summer.

Fracker, himself a MET tenor who has been on that hallowed stage for 168 performances said, "This will change Nathaniel's life. He is ready. He's the right age, the right time and right experience."

MSU's Opera Theatre, under Helton's leadership, has been growing in reputation and quality over the years. Peake's prize will add another trophy. Helton says, "We're on a role. We were just ranked up with the best opera programs in the country - along with Indiana, Eastman, Julliard and the rest."

"It's a tremendous thing for the MSU program," agrees Fracker. "It doesn't get any bigger than this."

Melton remembers when Peake first came to MSU, he was not only dedicated to learn to be a great singer, but he also knew that he was very overweight and needed to shed some pounds to make it on stage. Melton says, "Nathaniel lost 160 pounds in the two years he was here. He signed up for Weight Watchers his first week. I told him that I thought he was a leading man whatever his body weight was."

Fracker spoke less about his weight and more about the singer. "You could tell right away that he had great potential - you could hear his sensitivity and vulnerability. But he had no confidence. He had no idea how good he was.

"But boy, when he began to understand, he really started to make sounds!"

Peake grew up in a small town hear Houston from a family that knew nothing about music. "My parents never went to concerts, but have supported me every inch of the way." He sang in school choirs since the 5th grade and also played French horn throughout junior and high school. "I didn't know what I wanted to major in - horn or voice."

Although Peake never heard an opera until he was 20, he is now in love with the art form. "I love the characters and the truth of it all and the history. And when these great characters are singing the most beautiful melodies every written, nothing can be better."

Although Peake was offered full scholarships to several other schools, he was happy that he chose MSU.

"It's an awesome school. It's so collegial between the faculty, and Professor Fracker is one of the greatest tenor teachers in the US. He was a therapist before he was a singer, so he has great insights into the mental aspect of singing. He helped me find focus. His words come back in my head before an audition.

"Also Melanie has a great understanding of the opera stage and giving instruction on how to act. And as a conductor, Rafael Jimenez is one of the best I've ever worked with anywhere."

What happens now? Peake received a $15,000 prize and is being asked to audition everywhere. "It's not like I ever thought this was going to happen. I'm still in shock."

Play - Don't Listen.

Last Saturday, twelve concert bands from across Michigan converged on Okemos High school to participate in the Red Cedar Festival of Community Bands. Carolyn Sherrill, conductor of the Meridian Community Band had the bright idea of a community band festival fifteen years ago, and she and her committee have been running it ever since.

It was an inspirational day, watching bands (50-90 musicians each) earnestly play their 40-minute concerts and dutifully leaving the stage to make way for the next group. The bands were made of octogenarians and teenagers and everything in between. Factory workers, homemakers, retirees, professors, stockbrokers, business owners, nurses, doctors - every profession you can imagine played their music with surprising accuracy and musicianship.

All these amateur musicians have in common is their love of music. Some have music degrees and some have no degrees, but they all do it for the love of playing their horns.

It's one of the only activities I can think of that combines such a variety of ages, professions, nationalities and abilities into one performing organization. In Lansing alone, there are four community bands.

Playing amateur music together used to be a very common practice. Back in the day, every house had a piano and there were reams of sheet music on the bookshelves. It was not uncommon to have people come over to play music together on a Saturday night. Now, with CDs TV, and professional concerts we have become too intimidated to perform in public.

But playing music is good for the soul, for the brain and for social interaction. In fact, new studies are being published that say that the old idea of having your baby listen to Mozart to expand their little brains cells is all bunk. The studies are now showing that the key to building strong bodies and strong brains is to play music, not listen to it. The concentration, memorization and physical focus of perfoming music develops intelligence and guards against memory loss for oldsters like me.

One of the most entertaining parts of the Red Cedar was the appearance of a nine-year old phenom cornet player. Geoffrey Gallante performs all over the country and played Bugler's Holiday with two 80+ year old trumpet players with the Meridian Band. It was wonderful. And age wasn't an issue.

So if you have an old clarinet or trombone or fiddle gathering dust in your attic, don't sell it, play it. You'll feel better and you may just keep your memory sharp.

A Rare Occurance

While Wharton Center lavishes Lansing with plenty of splashy musicals, it's rare for them to bring a straight dramatic play to the Great Hall.. Therefore it was a special to have the Tony Award Winning August: Osage County make a stop here.

Most plays we see these days have small casts - 2-4 actors on the stage is about average. But August has a whopping thirteen characters in this dark, family drama.

I should really say the play had fourteen characters, because the imposing three-story set of a large family house was so intriguing that it was like a character unto itself. The various lighting, use of props and groupings of the characters brought life to the rambling house.

Staring in the title role of the drug addled and mean spirited matriarch of the brood was Academy Award Winner, Estelle Parsons. Although 82 years of age, Parsons gave this totally un-likeable character great personality and spunk. You hated her, but in the end you understood her.

Although the play deals with the everyday tragedies of large families, it does so with razor sharp, biting humor that makes its 3+ hours length palatable. Also the acting was, across the board, superb. Playwright Tracey Letts gave each character its own distinct voice, and the actors transformed them into real people.

August is not for the faint of heart. It deals with suicide, drug addiction, and uses language that is raw and angry.

The most searing performance of all was Shannon Cochran, as the oldest daughter. She lashes out at everyone because of her failed marriage, pot-smoking 14-year-old daughter and her psychotic mother, among other things. Cochran is riveting in her portrayal and gives everything to the role.

August is written with sensitivity and a fine ear for pitch perfect dialogue. Howver, this is not a happy go lucky night at the theater. But it is, without a doubt, magnificent theater.

LSO: 2 out of 3 Ain't Bad

It's a good thing that by the time the Lansing Symphony concert ended last night with the transcendent performance of Brahms Double Concerto, the audience already forgot the disappointing opening work, Mendelssohn's Suite from A Midsummer Night's Dream.

The Mendelssohn was a downer, because usually it is music that is filled with romance, gaiety and spunk. With shades of Rossini, it begins with a series of lovely chords from the woodwinds. And here is where the problems began.

Those glorious chords were sloppy and often out of tune. To make matters worse, every time they appeared, they were always the same. Whether it was conductor Timothy Muffitt's soft downbeat or just a lack of rehearsal time, those musical flaws seem to have an effect on the entire piece.

Happily, the LSO came back in full blush for the rousing Don Juan by Strauss. Muffitt drove the orchestra through this exciting work with force and triumph. The horn section seemed to blow the roof off Wharton Center with the memorable, macho, signature horn solo. The ensemble performing Don Juan seemed like a different LSO.

But everything truly came together with the reading of the Brahms Double Concerto in A minor, with Ilya Kaler, violin and Ami Peled, cello. A truly unique work in the classical repertoire, the Brahms was perfomed with great passion and beauty. It is rare to hear the piece better than last night.

Kaler and Peled, who play in a piano trio together, communicated like they were in a deeply moving conversation. And Muffitt was right on their wave length. The performance was almost like a trio, with Muffitt accompanying Kaler and Peled like one instrument. Muffit kept the orchestra under the soloists, and brought out the woodwind solo sections to merge with violin and cello perfectly. He was sensitive to the soloist's every musical nuance. Chamber music with a symphony orchestra. Amazing!

Peled's lovely cello tone sang Brahms' melodies and Kaler added his sweet and focused violin tone to the mix. There was no "I'm better than you" going on here. These two great artists were there to make music together and probe the wonders of Brahms with grace and elegance.

The respect and affection that flowed between Muffitt, Peled and Kaler was apparent - making this Brahms Double was one of the great LSO performances ever.

It's A New World For Symphony Orchestras

Both the left and the right coasts of the US are helping to usher in a new world for symphonic music.

American orchestras have never really been able to make the medium its own. The conductors are almost always European old guys, and the music is heavy on the side of romantic standard classics.

But now, New York and Los Angeles are helping us to embrace the 21st century. Both orchestras have welcomed new conductors this season and I predict they will change the face of American symphonic music forever.

The venerable NY Phil choose to follow aging Lorin Maazel with the 42-year-old, American born, Alan Gilbert. Few people have heard of him although he has built a nice career in Europe. Both his mother and father have played in the Phil so the orchestra felt like he was one of theirs.

The LA Phil went off-shore to shock the work by hiring a fiery conductor of a mere 28 years of age. Gustavo Dudamel has conducted the Simon Bolivar Youth Orchestra in his native Venezuela. If you go to You-Tube, you'll be able to see this intense conductor with his exciting orchestra of kids. They've also cut some CDs that sound like a professional ensemble.

Although both conductors will be a fresh of breath air blowing away the cobwebs of orchestra concerts, my money is on Dudamel for sending a shock wave through the country. He will not only bring a new energy to this never-changing medium, but will also show the US what can be done with youth orchestras. He might bring back public school music education from the near-dead. His opening concert will be on PBS on October 21. Watch for it.

So far the critics have been kind to Gilbert, and absolutely swooning for Dudamel. Let's wait and see how the music world changes in the next few years.

The Patter Boy

On Saturday, October 10, the newly enlarged Wharton Center (at a cost of $18.5 mil) had its grand opening featuring pianist/singer Michael Feinstein.

First a word about Wharton. The new face of the 27-year-old hall looks beautiful, although most of the additions will not be seen my the majority of the concert going public. The administrative offices are greatly expanded, but so are the backstage areas, dressing rooms, green room and donor entertaining areas. The rest of us get to see the lovely ticket space and the massive gift shop - which are great.

The Great Hall and its lobby have not been changed, and they look a bit shabby next to the opulence of the newly restored areas. I am sure the main concert hall will be refurbished soon.

Now for Feinstein. I felt the publicity for the Feinstein show did give the full story. Anyone who knows Michael Feinstein knows his performing style, and there was nothing from Wharton to expect anything different.

Michael Feinstein always appears by himself, alone with his trusted Steinway grand. He sings the songs of Gershwin and Berlin, et al, in his lovely tenor voice, sitting at the keyboard with his head turned toward the audience.

For this show, dubbed "The Sinatra Project", the perky Feinstein appeared on stage in front of a 17-piece kick-butt big band. I've rarely seen him without the piano on his lap.

This was a different Michael Feinstein. The Wharton concert program made no mention of the band, let alone the brilliant arranger and band leader, Bill Elliot. However, the band was so superb that I was often pulled away from the headliner just to listen to this terrific, highly professional band.

But even though Feinstein was in an unfamiliar space, he always knows how to please an audience. He has the best patter of any performer I know. The crooner tells wonderful, memorable stories and his charming manner makes you think that he sincerely wants to be here to entertain you.

At 52 years old, Feinstein still has a boyish appearence that is engaging and endearing. Also, he has a wonderfully light voice, that gives the Sinatra canon a sincere quality it never had before.

So, it was hard not to be enchanted by the concert, even though it was something that no one really expected.

Brouhaha @ Boarshead

When Lansing's theater community was all atwitter earlier in the summer because Boarshead Theater let popular artistic director Kristine Thatcher go, a little noticed event was occurring in Grand Rapids.

On June 17th, Opera Grand Rapids broke ground for a $2 million opera center. The new building will sport 14,000 sq ft. for rehearsals, practice rooms, costume shops and storage facilities. It will be named the Betty Van Andel Opera Center.

Boarshead decision makers have taken the brunt of much criticism for the Thatcher decision, demonstrated by the many letters-to-the-editor sent to the Lansing State Journal as well as the City Pulse. Irate long time subscribers have shown their pique by refusing to re up for the 2009-10 season. John Dale Smith, executive director, has unfairly been singled out as the bad guy by many.

In speaking to board members, it appears that the release of Thatcher from her contract was a financial decision only. With benefits, she cost the theater company approximately $77,000 per year, a princely sum for an arts organization under sever financial pressure.

The issue at Boarshead is not Thatcher, but Lansing's difficulty in supporting its arts organizations. And the outcry over Thatcher's dismissal was more emotional than objective.

We remember Kristie Thatcher as the cute ingenue who starred in musicals, comedies, and dramas throughout Lansing. As a young adult she left for Chicago and continued her acting career and become a playwright of note. To our delight, Kristie decided to come back to her home town to be the artistic director at Boarshead. Everyone was thrilled.

Although cutting Thatcher loose was probably the correct financial decision to make, the board obviously did not understand the strong support and affection the charismatic personalty has in Lansing.

Now back to our western Michigan neighbors: The Van Andels gave $1 million as the lead gift for the Grand Rapids opera building (Lansing doesn't have a local opera) and the community responded by raising the other $4 million and surpassed its goal by $75,000.

Sadly, Lansing has no sugar daddies who can cough up million dollar gifts like the Van Andels - although Lansing always manages to find money for a baseball stadium, a new city market and other developments. Michigan's capitol city has no performing arts center or a suitable building for its only professional theater. Midland, a much smaller city, has had a lovely arts facility for several decades.

In contrast, Boarshead sits on a lonely corner on the south end of downtown Lansing, across from the bus station and the State Journal. There are no restaurants , coffee shops or gathering places nearby for patrons to socialize after the plays. Boarshead's building used to be a car dealership and was purchased by the city in hopes that it could become a parking lot some day.

Clearly, downtown Lansing is not a friendly place for the arts. The Lansing Symphony performs on the MSU campus in East Lansing, and the Lansing Concert Band plays in various venues throughout Ingham county (as well as Dart Auditorium at LCC) but without a more substantial arts presence in Lansing it seems like the award-winning Boarshead will always be fighting for survival. Lansing remains the only state capitol I am aware of that does not have a performing arts center near downtown.

The Boarshead Thatcher problem is not a Boarshead problem, it's a Lansing arts problem. If Mayor Virg Bernero wants to build a world class capitol city, he must see the importance of an arts center downtown with two performance spaces - a theater, and a 1000-1200 seat auditorium.

Ironically, to attract new students in the era of "schools of choice", area high schools are adding beautiful auditoria throughout the Lansing area. If high schools can build these impressive houses of music and art, why can't the city of Lansing?