tag:blogger.com,1999:blog-33024828968208471892024-03-18T21:35:15.764-07:00#ArtinNMCovering artistic expressions all over the Land of EnchantmentAlissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.comBlogger57125tag:blogger.com,1999:blog-3302482896820847189.post-40856541007250993412014-06-04T14:37:00.000-07:002014-06-05T06:16:19.035-07:00Les Miserables at the Albuquerque Little Theatre<div dir="ltr" style="text-align: left;" trbidi="on">
"Les Miserables" is one of my favorite musicals of all time -- I've seen it live over half a dozen times, including the 1990 Broadway touring cast, the 1991 cast in residence in London, as well as numerous other tours... I remember the revolving stage (no longer in use, and I miss it still). Admittedly, I'm a self confessed "Les Mis" snob. Without a doubt, the Albuquerque Little Theatre provides local residents with the same kind of high quality, professional production, both in sets, sound, acting and (of course) vocal ability, and was met with standing ovations in recognition and response.<br />
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Based off Victor Hugo's French novel, the characters in this show evoke the varied emotions of a society in the midst of political change, and massive suffering. Kevin Fannin portrays Jean Valjean, once a prisoner, repeatedly challenged by the conventions of his society, and forced to make moral choices as a consequence of his parole. The shift in Valjean's perspective, brought on by the struggle of trying to do right in an unjust world, is as pertinent today as it was to 19th century France, and Fannin's ability to remain compassionate in character, and to find his own vocal interpretation within these iconic songs, speaks to his artistry and talent.</div>
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<a href="http://www.spreaker.com/user/4723351/les-miserables-at-albuq-little-theatre" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWBZ8JA0NoEmQfUopb513QcYEVnV7j88XCUaHl6rh434E3psWySr4Ni0BQ7VdDQIg7f89VaS1sFCbktiXt3R-bfl-YPGoYWkFR-hc-tCmo46h0GM-6N1ykV6Sk2mDdjxB0BdnwV1Q4Ci8y/s1600/tinypodcast.jpg" /></a><b><i> <a href="http://www.spreaker.com/user/4723351/les-miserables-at-albuq-little-theatre" target="_blank">Click HERE to listen to Kevin, Paul, Vanessa and Jon discussing the show</a></i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXmGwpyCiU-aRiGERWO6usOBN2lPw9_kjPCWSyX1N9Dm0djYWecvcoP-jcS6c3SkHBb1dGIYTT4DdEfUYhfI9NKVTqbGt8GBe5utFudWboUz54485kzln0oQQWdc6xmW5xPDYNhBy7azpk/s1600/lesmis6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXmGwpyCiU-aRiGERWO6usOBN2lPw9_kjPCWSyX1N9Dm0djYWecvcoP-jcS6c3SkHBb1dGIYTT4DdEfUYhfI9NKVTqbGt8GBe5utFudWboUz54485kzln0oQQWdc6xmW5xPDYNhBy7azpk/s1600/lesmis6.jpg" height="200" width="132" /></a>Valjean's greatest adversary is that of Inspector Javert, portrayed by Paul Bower, who hunts Valjean obsessively, ready to bring Valjean to justice. Bower's Javert is phenomenal, one of the best I've ever seen, and as a character, is necessary as the counterpoint to Valjean's moral choices. Javert's own choices, which he seems unable to make with the same conviction as his nemesis, do not enrich his character but instead pull him apart. Ultimately it is Valjean who finds himself in this show, and Javert who loses himself. Bower's rich baritone fills the role completely, giving the adversarial role a sense of humanity as well. If we didn't connect to Javert's <i>pathos,</i> his existential crisis, a reason to pity him, then perhaps we are no better than he is.<br />
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Circumstances lead Valjean to becoming an unlikely father as he fosters the child belonging to Fantine, played by Shaena Crespo, a consumptive woman of the streets. Crespo's challenge is to coax this lifelong commitment from a man she hardly knows, and she brings this believability to her performance brilliantly. Cosette is kept by the conniving Madame Thernadier (Vanessa Sanchez) and her husband (Stephen Balling), a duplicitous pair who scheme their way through their miserable lives by focusing on being survivors in these times of hardship. With comic timing and a sense of bawdiness, Sanchez and Balling keep the couple light hearted, even though their characters are perhaps the least compassionate ones in the story. Valjean removes young Cosette from their care, knowing, "It won't take you long to forget."<br />
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As a grownup, Cosette (Karliz De Marco) falls in love with Marius, a student and revolutionary, played by Jon Gallegos. But Marius has another admirer as well, Eponine (Kristen Ryan), whose life is not nearly as pampered as the girl whom her family once fostered. Both De Marco and Ryan employ their powerful voices for these principle roles, giving us a range of emotions in their respective characters. Finding himself between his friend from the streets, and the young woman of society whom he fancies, Gallegos also shows us the emotions of his role, his soaring tenor voice filling the auditorium to take us on Marius' emotional evolution. Unable to take his eyes from Cosette, we feel the new found love when the couple first meets, as well as his great sorrow when later faced with the deaths of so many of his friends and compatriots. Gallegos' emotional connection to Marius allows us to remember that no matter how difficult it is to stand up for your beliefs, it can be even harder to be the last one standing and to still hold true to your prior convictions.<br />
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Beyond the love story, and the revenge story, there is the political story of the rebellion, fought by students who were ill prepared to meet their opposition. Requiring a strong ensemble, the men's moments are best seen and heard during "Red and Black," or the "Barricades" numbers, while the women combine their talent to numbers such as "Lovely Ladies," and "Turning," giving us many perspectives throughout the show. The ensemble cast functions as neatly as the principles do in their solo and duet moments, with individual characters that are believable and well thought out, as well as powerful in voice and presence.<br />
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Directed by Henry Avery, with musical direction by Lina Ramos, the show plays until June 15, and due to the popularity of the show -- the recent movie release made legions of fans that might not have existed before -- one should purchase tickets in advance, or risk being turned away from the theatre due to sold out houses. Visit their website at <a href="http://www.albuquerquelittletheatre.org/">www.albuquerquelittletheatre.org</a> to find out more about tickets, as well as their upcoming 85th season, starting later this year.<br />
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Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-50097595492288428282014-05-28T14:44:00.000-07:002014-05-28T14:52:30.851-07:00The Gospel According to Joan by the Dolls at the Aux Dog Theatre Nob Hill<div dir="ltr" style="text-align: left;" trbidi="on">
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With life lessons to spare, Joan Crawford speaks to us directly and candidly in the original work, "The Gospel According to Joan," currently presented by The Dolls and playing at the Aux Dog Theatre Nob Hill. The drag troupe brings Joan to life in many of her incarnations, each one a delight to behold, giving us a glimpse of the many personas she was, her successes, failures, personal triumphs as well as pitfalls.<br />
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<i>The</i> Joan Crawford, portrayed as an aging glory and reflective upon her life, is skillfully played by Kenneth Ansloan, the show's playwright. Re-examining many of her life's plot twists and love interests, Joan meets the incarnations of her younger self, each one another evolution of the Hollywood star, as well as later coming face to face with her greatest rival, Bette Davis. At each moment, Ansloan remains true to his vision of Joan, always convincing while confronting the past.<br />
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As "Flapper Joan," Bradd Howard, the director, gleefully relives her more risque moments, including work in stag films and exploits on the directors' casting couches as she transitioned from silent movies into talkies. Coy and flippant, Howard gives his Joan the saucy flare of youth, complete with her marriage to Douglas Fairbanks, then considered Hollywood royalty. "You're common and wild," accuses <i>the </i>Joan, judging her past, perhaps even while relishing in it.<br />
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<a href="http://www.spreaker.com/user/4723351/gospel-according-to-joan-by-the-dolls" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_cCRgU_e0q9rX-nFPNk0K-vbeaNhuOjS-es2JGShKXltf1pFsZlqlMtsomCW6w6QXP06z2tbGGupADDiCUWY-3oUvh03xZ2EE-arsbems-2XboE3Tf6WlIRdfuTjXk3XRPJLoUGLBXZna/s1600/tinypodcast.jpg" /></a><i><b> <a href="http://www.spreaker.com/user/4723351/gospel-according-to-joan-by-the-dolls" target="_blank">Click HERE for all 4 Joans, Kenneth, Bradd, Jaime and AJ, discussing the show</a></b></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdWfS7mtREMkQrwZYgw3u0RoS0VqJqQAX4ZpTivxVwhnEBcYLbCfO2mNPbXwbMjgzxQerkbEoXNkrmX5FarjHVxYRtIWHgv2_S2fpWLg9BAqiifYJLeHtIPLE5kJ9t5wQkA8NUwHAd4Wcc/s1600/joan2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdWfS7mtREMkQrwZYgw3u0RoS0VqJqQAX4ZpTivxVwhnEBcYLbCfO2mNPbXwbMjgzxQerkbEoXNkrmX5FarjHVxYRtIWHgv2_S2fpWLg9BAqiifYJLeHtIPLE5kJ9t5wQkA8NUwHAd4Wcc/s1600/joan2.jpg" height="320" width="247" /></a></div>
"MGM Joan," the Joan who is at the height of her film career, is portrayed in her slap-happy glory by Jaime Pardo. Clutching her Oscar from <i>Mildred Pierce,</i> Pardo finds Joan's wild eyed Hollywood diva, who relishes being at the top of her game and in charge of the men around her, including her costar and lover Clark Gable (Brian Fejer) and a costar who became her second husband, Franchot Tone (Bryan Andrew Lambe). The male roles in this show are certainly entertaining but carry small parts, much like the men in Joan's real life. When Mayer later suggested she leave MGM, Crawford saw it as a betrayal, but she signed with Warner Brothers and the Oscar she won was her vindication for the studio's rebuff.<br />
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Giving us psychotic Joan is A.J. Carian as "Mommie Dearest Joan," including some of the memorable lines from daughter Christina's notorious tell-all, published after Joan's demise. Stealing the show in every sense, Carian's moment re-enacting Joan's cameo appearance on her daughter Christina's soap opera role is a delight. Portraying Joan, pretending to be Christina, pretending to be a soap opera actor (unprepared for her lines), the scene gives us plenty of laughter in between the other more serious moments of Joan's reverie.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMoQzd_9-f-r5_zqF0XtCXpHtXnCdIxXxlUd4FGuUjrmK-vofsZUGSIwxw0thsh92CQm3ZeWpIomNYbEuD9Gmjz7IAo5-tj97rhe7UYZur-blsIt-Q6Z-GFQ66WAKDf2eny53S9kuUrHnF/s1600/joan3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMoQzd_9-f-r5_zqF0XtCXpHtXnCdIxXxlUd4FGuUjrmK-vofsZUGSIwxw0thsh92CQm3ZeWpIomNYbEuD9Gmjz7IAo5-tj97rhe7UYZur-blsIt-Q6Z-GFQ66WAKDf2eny53S9kuUrHnF/s1600/joan3.jpg" height="320" width="258" /></a></div>
Also giving the audience howls of laughter was Dean Squibb, portraying Joan's greatest rival, Bette Davis. Squibb's impersonation is done with comedic precision, every line delivered with laser wit. The scenes Ansloan and Squibb reenact from <i>Whatever Happened to Baby Jane? </i>set up the audience for the boxing match between the two women, which perhaps would have been a more effective resolution to their lifelong rivalry. But beneath that ongoing competition, was there something less adversarial between the women? A begrudging sense of mutual respect? By the end of this show, it would certainly seem Bette is ultimately more than just a rival in Joan's life.<br />
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The Dolls, as a troupe, are fabulous... not just in the sequins-and-lipstick sense of the word but truly as actors who are willing to push social boundaries and expectations in order to tell the tale. A "dramedy" to the end, they work from each other, taking inspiration from live moments onstage and sometimes interacting with the audience to coax our giggles into belly laughs, at times ad-libbing, even coaxing the errant character-breaking giggle from their fellow troupe member to the audience's delight.<br />
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Seating at the Aux Dog is limited and advance tickets are recommended to insure you won't miss out on the Dolls' fun, so drop by the venue's website <a href="http://www.auxdog.com/">www.auxdog.com</a> and grab yours before the show closes on June 1st. </div>
Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-1558012359700313592014-05-21T06:49:00.000-07:002014-05-21T06:49:42.718-07:00These Shining Lives by Duke City Repertory at the Cell Theatre<div dir="ltr" style="text-align: left;" trbidi="on">
At a time when radium was touted as a panacea, only to be later recognized for the hazardous radioactive material that it is, opportunities for women in the workplace were practically nonexistent. In "These Shining Lives," presented by Duke City Repertory Theatre and playing at the Cell Theatre until May 25th, we see four women who bond with each other at the workplace they believed to be "the job of our dreams," only to later discover they are fighting together against the company that hired them, and the deadly substance they were exposed to during those years spent together.<br />
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Business at the Radium Dial Company was progressive for 1922, hiring hundreds of female workers at a time when women had barely been given the right to vote, and decades before Rosie the Riveter flexed her feminine muscle at her job. When Catherine Donohue (Amelia Ampuero) is hired on to paint dials with radium to provide that glowing, cheery Westclox face, she's taught the method that all the women employ, "Lip, dip and paint!" Paid by the dial, for years Catherine and her coworkers push themselves to see how many they can complete each day, relishing their financial independence even while apologizing to their husbands and families for their absence from the home.<br />
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<a href="http://www.spreaker.com/user/4723351/these-shining-lives-by-duke-city-rep" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhftKk0KYXwZf0Z1ic1fkCOib_YxdZojpoRwDZthYp1dR0eZAiK1KqqsfaVNE8foitdFz4ZEDxogKwKvESx41RGO1fLiLtw7aM6CEoihNEPbnpfMd7Q3urKavicagMBlcOFnp68Y8n9QA6J/s1600/tinypodcast.jpg" /></a><b><i><a href="http://www.spreaker.com/user/4723351/these-shining-lives-by-duke-city-rep" target="_blank"> Click HERE to listen to Catherine, Wendy, Katie and Eve talk about their roles</a></i></b></div>
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Professing, "I'm not one of those career girls," to her husband Tom, played by Ezra Colon, Ampuero continually finds Catherine's many emotions, including her elation and pride, mixed with guilt and remorse, torn in a work-versus-home drama many mothers today continue to face. Colon brings every emotion to his role as well, including sharing her moments of joy, to challenging her dedication to their home, reminding her, "Be careful, work will cost you something." Never knowing the irony, he later describes her as a glowing angel, the radium left in her skin and hair even during her off hours illuminating her, and later taking her life. Ampuero almost never leaves the stage, navigating the play with a sense of invested honesty, and giving Donohue all of the highs and lows that are written into the show.<br />
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The other women of Ottowa, Illinois joining Catherine on this journey are her coworkers, Charlotte (Katie Becker Colon), Frances (Wendy Scott) and Pearl, (Evening Star Barron). The tough talking Charlotte is the natural leader, Frances provides the "moral backbone" (though flexible) and Pearl cracks jokes or remains quite quiet, vacillating between her own extremes. Finding a friendship forged at work was a new experience for these women, each aware of the opportunities their employment provides, even while taking so much more. The bond they grow and share is what speaks loudest, working together in the factory, then fighting the company in court, and, ultimately, dying together while company doctors prescribe aspirin, and assure them they are hysterical women who are imagining these symptoms. Fighting all the way up to the Supreme Court, the women's friendship and the relationship between Catherine and Tom, gives this story added dimensions beyond a typical "whistleblower" tale.<br />
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Directed by John Hardy, the theme of time plays out in many scenes; in Tom's eyes, Catherine is the "past, present and future," and at the job, "Time is money around that place." The dwindling time she has left while fighting the radium poisoning inside her body and fighting the company at court resonates in moments with greater awareness as the show, presented in its entirety, is allowed to build without stop. Giving balance to the tale is Frank Green's role as Mr. Reed, the ladies' boss, who turns a blind eye to their complaints and to his own culpability, as so many in management positions did (and continue to do when faced with their company's liability).<br />
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Seating at the Cell is limited and advance tickets are recommended, which you can buy ahead from the company's website at <a href="http://www.dukecityrep.com/">www.dukecityrep.com</a>, as well as keep up to date with their latest news and coming season.</div>
Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-15359853796883117972014-05-09T08:00:00.000-07:002014-05-09T08:00:36.942-07:00Tchaikovsky and Shakespeare by Ballet Repertory Theatre of New Mexico<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLGrBrFspcqFSAhVZKnLLy3GT9fJAfN5AspKPWuP0LDCvAEhYd64QwCG9mBFc9f6nVpR1sKPC-1e1dwpDqyub4yyOukEH2qHEzYHZdrfWCr3GY67M8nzlk-vBQI-qfV4oTkLT9cyLYxhvD/s1600/brt2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLGrBrFspcqFSAhVZKnLLy3GT9fJAfN5AspKPWuP0LDCvAEhYd64QwCG9mBFc9f6nVpR1sKPC-1e1dwpDqyub4yyOukEH2qHEzYHZdrfWCr3GY67M8nzlk-vBQI-qfV4oTkLT9cyLYxhvD/s1600/brt2.jpg" height="200" width="200" /></a>Continuing their seasonal theme of music by Tchaikovsky, Ballet Repertory Theatre of New Mexico finished out their 24th season with a program full of master works by masterful choreographers, presented May 3 & 4, at Albuquerque's historic Kimo Theatre. BRT's Spring concert is always one where the company's dancers can expect to push their boundaries outside the classical repertoire, and audiences can expect innovative, creative voices in our dance community to be expressed through the medium of the entire company. Thankfully for us, Katherine Giese, BRT's company director, excels at giving these opportunities to her dancers and choreographers, and we, the audience, get to fully enjoy the fruits of their labor.<br />
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<a href="http://www.spreaker.com/user/4723351/tchaivkovsky-shakespeare-by-ballet-rep" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjluJ-yAPO7fCE6lLyckOT8g7oaAirnAjrOrHUnaOynbKrNTPhmoChsaTgcODJ5ncpChDTwHSGlRQJ-dhBn0pCu9YYDCUvGwaEYINazzpo-X8vREAu0KmRBjXXw5FdoyrQNelsd_NMAdvM9/s1600/tinypodcast.jpg" /></a><br />
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<b style="text-align: center;"><i><a href="http://www.spreaker.com/user/4723351/tchaivkovsky-shakespeare-by-ballet-rep" target="_blank"> Click HERE for choreographers Vladimir, Celia & Alex discussing their works</a></i></b><br />
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The evening began with the first of Tchaikovsky's fantasy overtures to be presented, "Hamlet," choreographed by Vladimir Conde Reche. Danced in bare feet, the contemporary movements and angular shapes created the turmoil of the tale, while grounding this story's angst with earthy emotions, and even costumed in earthy tones. Evoking the emotions of the piece without giving us a literal story ballet translation, Conde Reche chose not to cast any one dancer as "Ophelia," or "Hamlet," but to allow all the dancers to find these moments within the choreography. Capturing the atmosphere of this dark, fantasy overture, the moments when the females were suspended, hovering over their men, in floor work and in lifts, suggested the romantic, yet ungrounded quality of Ophelia's mind, as well as the couple's complex relationship to one another. Briana Van Schuyver's passionate solo gave of her artistic side as much as her technical abilities, and by the story's end, she was the only one left standing.<br />
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Celia Dale choreographed the second piece of the program, a repertory piece, "The Tempest," danced by seven female dancers. Dale's loose and flowing contemporary ballet shapes<i>, </i>with dancers clothed in tunics of pale blues, allowed the oceanic and otherworldly qualities of Shakespeare's tale to come through, as "sea nymphs hourly ring his knell." The group came together in small trios and<i> pas de quatres</i>, as well as larger, ensemble moments, with each dancer showing the extent of her technique in their mutually exquisite lines, as well as long, sustained passages danced <i>en pointe</i>, and requiring incredible strength and stamina to sustain. Punctuating the dance movements, which varied from crashing and raucous, to light and airy, were spoken passages of "The Tempest," narrated by Giacomo Zafarano. Annie Cormier's solo moments were gentle, powerful and expressive, reminding us in Shakespeare's words, "We are such stuff as dreams are made of."</div>
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The final presentation, "Romeo and Juliet," is also a repertory piece, one which choreographer Alex Ossadnik has previously set on the company, using the concept of a chess game. By Ossadnik's vision, the traditional star crossed lovers become the Black Queen and the Red King, danced with passion and abandon by Annie Cormier and Giacomo Zafarano, while surrounded by the other characters (or pawns?) in the tale. One of the most intriguing characters Ossadnik created for this dance was that of "Peace," clad in both black and red. At times, her movements became mechanical, suggesting the machinations of fate that are ingrained in this tale, and special mention must be given to the creative lighting design, with checkerboard patterns created on the floor, all of which accentuate the larger Shakespearean themes of surrendering to unknown forces that are greater than ourselves.<br />
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Director Katherine Giese's eyes twinkle when she talks about what's coming next for their upcoming season, commemorating their 25 years here in Albuquerque. For more information about BRT's company, their classes, summer workshops, as well as their upcoming season, visit their website at <a href="http://www.brtnm.com/">www.brtnm.com</a>.</div>
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Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-3922180829647178182014-05-01T15:37:00.000-07:002014-05-01T15:41:38.599-07:00SPOTLIGHT: Victoria Liberatori, Producing Artistic Director of the Aux Dog Theatre Nob Hill<div dir="ltr" style="text-align: left;" trbidi="on">
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Is it serendipity that we find ourselves where we are meant to be, even if it wasn't necessarily part of our life's original plans? It must have been so for Victoria Liberatori at the Auxiliary Dog, or Aux Dog, Theatre Nob Hill. She didn't really intend to settle in Albuquerque, but after being involved behind the scenes, and then being invited to come and direct "Recent Tragic Events," a 9/11 commemorative piece that showed in 2011, she found her involvement in the Albuquerque theatre arts scene continuing to unfold.<br />
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The Aux Dog, originally founded by Eli Browning over seven years ago, has been creating a new space for theatrical works in their Monte Vista location, just east of Girard, before Liberatori's entrance. But fifteen months after directing her first play here, Liberatori was given the title of producing artistic director and things seemed to kick into high gear, with their recent expansion, new classes, and new collaborations with other companies here in town.<br />
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Last year brought many accolades to the theatre and its players, including being voted one of the top five Albuquerque venues to see live theatre in <i>Albuquerque, the Magazine</i>'s "Best of the City" issue. They produced the best theatrical production of 2013, "Venus in Furs," with the best theatrical couple of 2013, an honor Barry Gaines, reviewer for the <i>Albuquerque Journal</i>, bestowed to the show and its stars, Sheridan Johnson and Brennan Foster. The Aux Dog also landed on <i>Local IQ</i>'s 2014 Smart List as 2nd place for Best Theatre, and 3rd place for Best Theatre Troupe in Albuquerque. </div>
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<a href="http://www.spreaker.com/user/4723351/spotlight-victoria-liberatori-aux-dog" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLPP7x3aKJP00gdgcYKk-xmVpB8aeb_pGQNrC5GtNOFbvrXdneIbrad5g2zNWsVJjJeU4m9BBoj2K8CWsLXiVzaiOlZQIjY0UXEJB9zrlNF0Il26W08r7GiaO9vihdwSTw6No68y3wKG4I/s1600/tinypodcast.jpg" /></a> <b><i><a href="http://www.spreaker.com/user/4723351/spotlight-victoria-liberatori-aux-dog" target="_blank">Click HERE to listen to Victoria Liberatori discussing the Aux Dog's & its future</a> </i></b></div>
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New growth is happening and the space is expanding to accommodate these future plans, converting what was once a clothing store into a creative space, thanks in part to Liberatori's vision and hard work, as well as the local efforts and donations from the community. Adding almost another 1/3 to the size of their overall property, their new black box space -- a.k.a. The X-Space -- allows additional room for rehearsals, classes, meetings, office space, as well as future performances. "I immediately took to it," Liberatori admits. "We have a <i>lot</i> of programming, and we rent space in our new facility.... Those rehearsals are already beginning. We just have a <i>lot</i> going on." Classes have already begun; Pre-Professional Intensive Acting Classes are currently taught by Aux Dog artistic associate Jessica Osbourne, and plans are in the works for Liberatori to teach an upcoming Text Analysis and Directing workshop as well.<br />
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No doubt the space will be quite occupied, and in many ways. The Aux Dog Theatre Company hosts nine productions a year at their established 90-seat theatre space, and they're just one of the companies who are now calling the Aux Dog its theatrical home. You can also catch The Dolls, a regional drag theatrical company, performing at the Aux Dog about four times a year, as well as Rocky Horror New Mexico, who perform there monthly. The new X space also includes a floating wooden, or "sprung," dance floor -- if you dance, you just sighed in relief -- and Edye Allen's company Dance Expose is already making plans to put it to good use. The Dolls will be opening their next show on the main stage, "The Gospel According to Joan" on May 9 and playing through June 1, and later this year the Aux Dog will be collaborating with the Mother Road Theatre Company to bring roller derby action to their venue in "The Jammer."<br />
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Liberatori's background made her an ideal candidate for the position she now holds, having spent 25 years as the Artistic Director at Princeton Repertory Company, an Equity company located in Princeton, NJ, in addition to other professional theatre endeavors in her past. With connections to New York, the theatre capital, Liberatori has a knack for finding new (and established) theatrical works that Albuquerque audiences are ready and eager to consume. You can check out all of their upcoming shows on their website <a href="http://www.auxdog.com/">www.auxdog.com</a>, call (505) 254-7716 to leave a message for Liberatori, or email the company at info@auxdog.com and get ready to visit their new space for something dramatically new, and completely different.</div>
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Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-69911334649321625152014-04-23T14:11:00.000-07:002014-04-23T14:16:27.887-07:00To Kill a Mockingbird at Albuquerque Little Theatre<div dir="ltr" style="text-align: left;" trbidi="on">
Collaborating to bring an American classic to life, Mother Road Theatre Company and Albuquerque Little Theatre present "To Kill a Mockingbird," and if it's been a while since you've visited Maycomb, Alabama (7th grade English class' required reading?), now is the perfect chance. Set in 1935, the economic, social and moral challenges of the time and place come to life through the memories of Jean Louise Finch, called Scout as a child.<br />
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Narrating the show is the grownup Jean Louise, played by Julia Thudium, whose recollections allow us to visit the past as she and her older brother Jem were raised by their widower father and his black maid Calpurnia in this small Southern town. Thudium recalls the happenings of her hometown, giving us glimpses of the woman that the child later evolved into, due in part to the events such as the summer of 1935. Mackenzie Jarrell, as Scout, and Traeton Pucket, as Jem -- along with their friend Dill, played by Logan Smith -- exceed the expectations typical of child actors, delivering powerful performances that are central to the action of the tale, while Thudium brings Jean Louise's emotional evolution to life with tremendous heartfelt honesty.<br />
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<a href="http://www.spreaker.com/user/4723351/to-kill-a-mockingbird-mother-road-alt" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj31gZudT28c2M1BFV_LfNvOGCfwBpCCk10UTeo1V-lkUb0Xi-dC2cP8OQigUd9ehT2c9OK4iKfdt-_ZEOAHAUfYAiArqH_5jCAoFgUg0TOed8TZqCTvEo8nvngEy3LOKAS5_clQ1U74GhS/s1600/tinypodcast.jpg" /></a><b><i> <a href="http://www.spreaker.com/user/4723351/to-kill-a-mockingbird-mother-road-alt" target="_blank">Click HERE to listen to Julia, Christopher, Mackenzie and Traeton's interview</a></i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe8wTMf5Pz-zA5Safi3ogrzEB1wvI83GGoA3WYzCU3rAyzbw_i2TIRKIOpvZnQ1ir_6NXTIt_wJf5fMXVqljtN6rrsVkUErZHBTLht_yb54wpCggOi8Q8PcTdapF_KBDN9KEU0HtDKs0x3/s1600/mock1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe8wTMf5Pz-zA5Safi3ogrzEB1wvI83GGoA3WYzCU3rAyzbw_i2TIRKIOpvZnQ1ir_6NXTIt_wJf5fMXVqljtN6rrsVkUErZHBTLht_yb54wpCggOi8Q8PcTdapF_KBDN9KEU0HtDKs0x3/s1600/mock1.jpg" height="213" width="320" /></a></div>
Their father, and perhaps the most moral man of Maycomb, is the lawyer Atticus Finch, expertly played by Christopher Atwood. Atwood, balancing the conscientious character of Atticus against the turbulent times of his town, creates a man whose principles necessitate the choices he feels must be made, even when it means going against the opinions of his fellow town locals. Scout is quite certain her father "doesn't do anything," but throughout the play she finds surprises along the way as to Atticus' true character. When asked about the Tom Robinson case, where Atticus defends a black man against the charge of raping a white woman, Atticus responds, "Every lawyer gets one case in his life that affects him personally. This is mine."<br />
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The story stands so strongly that to have such a mutually talented cast allows the emotions of the play to rise to the surface. A dramatic work such as this showcases so many of the talented actors -- Yvonne Mangrum as Calpurnia, Amy Bourque as Mayella Ewell, Bridget Kelly as Miss Maudie -- even when their appearances are cursory. Through these townspeople, including the cameo of the reclusive, mentally incompetent Boo Radley (Morse Bicknell) and the accused black man Tom Robinson (Hakim Bellamy), Lee illustrates the prejudices and cruelty of mankind, as well as the quiet voice of conscience that can also prevail when not drowned out by the noise of an angry mob.<br />
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The disease of misanthropic behavior can become virulent as we see it infect Maycomb before, during and after the Robinson trial. Bellamy as Tom Robinson shines as the portrait of an innocent man who knows he very well may yet pay for a crime he didn't commit. His command of the dialect and ability to believably embody Tom was impressive. And, giving one of the best mean drunks I've <i>ever</i> seen, Vic Browder plays Bob Ewell, the villain of the tale, and catalyst to much of the town's chaotic behavior. Even Boo, who is momentary, is haunting and leaves a strong impression, bespeaking of Bicknell's tremendous acting abilities to embody a character so elusive, and in so brief a moment.<br />
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Larger themes emerge from Lee's work, most notably the concept of individual merit versus mob mentality, whether it be an actual mob or even a jury of one's "peers." That a man or woman can become so compromised to their own basic character when goaded into doing so by a crowd is the shaming fact of human existence, and one which holds our salvation as well. As individuals, such as Atticus, Miss Maudie, and later Jean Louise, we are encouraged to ask questions of the status quo, to find our voice and in doing so, to stand our ground while seeking to change the injustices of our world. The goal is lofty, but the means are humble, a lesson that is as applicable in today's times as it was in the Depression-era South.<br />
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By the end of the evening the audience was on their feet congratulating the cast on a superb performance. To become a part of this classic yourself, you can visit <a href="http://www.motherroad.org/">www.motherroad.org</a> or <a href="http://www.albuquerquelittletheatre.org/">www.albuquerquelittletheatre.org</a> for tickets and more information on showtimes, playing currently until April 27th.</div>
Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-48595516784446590032014-04-17T15:00:00.000-07:002014-04-17T15:00:05.243-07:00Dancing at Lughnasa at the Adobe Theatre<div dir="ltr" style="text-align: left;" trbidi="on">
Step dance your way into another time by entering the world of "Dancing at Lughnasa," currently playing at the Adobe Theatre, and running until April 27. Taking us to the fictional village of Ballybeg in Ireland, we enter the childhood memories of Michael, recalling what it was like to be raised by five women, and an absentee father, and struggling to understand the grownups' ways while finding himself.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Photo by Daryl Streeter</i></td></tr>
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Jennifer Lloyd-Cary plays Christina, the young mother whose child Michael was born out of wedlock. Michael, played by Paul Hunton and appearing as a grownup, narrates the memory play as his own recollections from the age of 7, and through him we glimpse life at a very economically depressed time. Vacillating between the joy of her lover's unpredictable homecomings and despondency during his long, unexplained absences, Lloyd-Cary brings her character to life with a sense of emotional believability that we can connect with. As Gerry, the absentee father, Jeremy Gwin charms her, giving Christina the impression he has returned for good, only to disappear again (and again). Like Christina, we want to believe in his promises for a better life, even though we know it probably won't happen.<br />
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<a href="http://www.spreaker.com/user/4723351/dancing-at-lughnasa-at-the-adobe-theater" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7X5QP4PNnLiABxOZxji_JfMgM1zrpJGdV0DZidNckCicbzSaze7kX3FZHTfr9Btya08V4O24WmFPZb_5Z1ehJxo9k1IiNFg9BqnkeL05lWBl00bWVGBwySIG1kiEeir77Z9x0_KFCPifi/s1600/tinypodcast.jpg" /></a><b><i><a href="http://www.spreaker.com/user/4723351/dancing-at-lughnasa-at-the-adobe-theater" target="_blank"> Click HERE to listen to Jennifer, Lacey and Heather discussing the show</a></i></b></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Photo by Daryl Streeter</i></td></tr>
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Joy, like the songs from the Marconi radio in their kitchen, is a sporadic visitor that seldom stays for long, but in true Irish spirit, when the sisters begin to dance, they leave their real worlds behind just long enough to touch that something greater. As the leaders of the family, Kate, the eldest (Lacey Bingham) is rigidly devout, while Maggie (Heather Lovick-Tolley) is more earthy and free spirited. With meager skills to support themselves with, the two middle sisters turn to hand knitting, Agnes (Bridget Dunne) and Rose (Andrea Haskett), only to find their livelihood threatened by new technology, forcing them both to make hard decisions of their own.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Photo by Daryl Streeter</i></td></tr>
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The Ireland of the show is downtrodden, recovering from the loss of many of its young men in the first World War as well as the economic struggles of the Great Depression, but like the women themselves, the joyful spirit of the people cannot be squelched by the difficulties of their times. Just the idea of attending the Festival of Lughnasa, one of the only social outings the women might know in a year, is enough to inspire fits of laughter and squeals of joy -- like so many of their generation, they must learn to live on hope and ideas far more than the reality that confronts them daily. Their lives are a mix of the secular and religious, a concept personified by their brother Jack (William Lang), a priest who stays with his sisters while recuperating from malaria, caught in Africa during his missionary work.<br />
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The metaphor of dancing appears throughout the show, and as Michael states, "Dancing is a language that no longer existed, because words no longer mattered." Directed by Leslee Richards, the show wraps you into its tale and makes you consider that time and place already long past, and when the sisters dance, with choreography by Judith Chazin-Bennahum, you almost wish you could join in their fun. Each sister expresses herself a little differently once the music begins to play, and the act of abandoning one's self to ecstatic movement that comes from within gives each of them a little of the release they seek while living under such oppressing circumstances.<br />
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To join the dance for yourself, you can buy tickets online at their website, <a href="http://www.adobetheater.org/" target="_blank">www.adobetheater.org </a>, or call their box office at 505.898.9222.<br />
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Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-19730480828135289012014-04-10T07:17:00.000-07:002014-04-10T07:30:07.141-07:00Into the Woods by Musical Theatre Southwest<div dir="ltr" style="text-align: left;" trbidi="on">
In literature, the forested woods can symbolize a place of unknown possibility (like theatre!), both frightening and tantalizing, and sure to test your character. Venturing fearlessly into the unknown, Musical Theatre Southwest presents "Into the Woods," the musical written by Stephen Sondheim and playing at their Center for the Arts Black Box until April 27. Written with gentle humor, the story plays as equally charming to adults, so don't assume fairy tales are only for children. In fact, many moments in the show reckon to more mature emotions, including romantic love, a parent's love for their child, and the desire to protect those we love from the evils of the world.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZZOA5WAcTZvAxqGTQNnNG-M-rT3WZULZce8V3lCbCKhE5FaJhrvlb6PY0AA9-mH8Rcwf1znk5ED-HsdtP09DQUeR9_W4CsoROTmnJ0dxshCuVonoXNLVoY2RiqNkDsDntudMmcmjHUPZw/s1600/into2.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZZOA5WAcTZvAxqGTQNnNG-M-rT3WZULZce8V3lCbCKhE5FaJhrvlb6PY0AA9-mH8Rcwf1znk5ED-HsdtP09DQUeR9_W4CsoROTmnJ0dxshCuVonoXNLVoY2RiqNkDsDntudMmcmjHUPZw/s1600/into2.png" /></a></div>
The story revolves primarily around the Baker (Jonathan Dunski) and his Wife (Erin Warden), who venture into the woods to remove the Witch's curse of childlessness. In their effort, they meet Cinderella and her evil Stepmother, Little Red and the Big Bad Wolf, a couple of Princes and many more storybook characters. But, "careful the wish you make. Wishes are children. Careful the path they take." Dunski and Warden's chemistry with each other is compelling throughout the show, while each perform equally as strong in their solo moments, both bringing their own personalities to infuse these lead roles with.<br />
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Tahirih Garcia plays Cinderella, who is often running from her destiny, but finds that when her choices catch up with her, she must decide for herself the path to happiness. Garcia creates a more emotionally believable woman from the fairy tale princess we already know, all while juggling the attentions of one of the show's two Princes (played by Aaron and David Aubrey), who have great moments in the show in their own right. The delightfully tongue-in-cheek duet "Agony" brought chuckles from the audience, spoofing the twos' besotted foolishness.<br />
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<a href="http://www.spreaker.com/user/4723351/into-the-woods-by-musical-theatre-sw" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguzftmwK-4YXxAUjtxmPCgArv1d6VgkhNtHNeR8BRGDdhWdAUGPKEWeHvF41xj8Z12DLQD0kc3OY-MdsQh_7Ju0QTph1YyNGanVdPMwzc-X8Myov6aQTT_bQnyhLGFRO-JLYfwi8xJuFeK/s1600/tinypodcast.jpg" /></a> <a href="http://www.spreaker.com/user/4723351/into-the-woods-by-musical-theatre-sw" target="_blank"><b><i>Click HERE to listen to Jonathan, Erin and Tahirih as they talk about the show</i></b></a></div>
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Derrick Medrano, as Jack, brings another dimension to the story, that of the innocent, and performs beautifully in his memorable moment, "Giants in the Sky." Fairy tales are built from the structure of what we universally share, and youthfulness and innocence we can all relate to, as well as other themes, such as the challenges of parenthood. Beth Elliot makes her company debut quite charmingly as Jack's Mother, while Tasha Waters brings an emotional depth to the Witch, giving her many more dimensions than the archetypal villain. Her two solos, "Stay With Me," and "Witch's Lament," express her desire to keep her daughter Rapunzel safe, and they tore me open with the kind of heart wrenching, strong emotions that come from watching fearless actors at work.<br />
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Not to be forgotten is another enchanting debut, Jessica Quindlen as the <i>engenue</i> Little Red. Perky and relentlessly upbeat, it takes the maturity of the second act for Little Red, Cinderella, and Jack to realize they are all orphans of one sort or another, and that the sadness which ties them together also reminds us, "No One is Alone." As the Baker tells Little Red, "Mother said to never stray from the path, but the path strayed from you." How metaphorically true that is for so many of us, to set a path in life only to find ourselves to have strayed far from it, and into something strange, and altogether new and unexpected.<br />
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With live music to be enjoyed, the show is a great way to introduce children to musical theatre, but you only have to be a kid at heart to want to see it too. With limited seating, advance tickets are very much recommended -- opening weekend was already completely sold out -- so visit their website at <a href="http://www.musicaltheatresw.com/">www.musicaltheatresw.com</a> or call their box office at (505) 265-9119 to book ahead and settle in to this show's journey on your own. There were standing ovations on opening night, so you may even find yourself jumping out of your chair before it's all over.</div>
Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-42229692536840388822014-03-19T15:45:00.000-07:002014-03-20T06:34:07.214-07:00Fiddler on the Roof by Landmark Musicals at Rodey Hall<div dir="ltr" style="text-align: left;" trbidi="on">
Celebrating the 50th anniversary of the show and raising the roof with cheers, "Fiddler on the Roof" by Landmark Musicals premiered to an appreciative house at Rodey Hall on UNM campus, auspiciously opening on the night of Purim (a festive Jewish holiday) and playing until March 30th. Directed and choreographed by Gary John La Rosa, the atmosphere for the show began before the actors' appearance with the magnificent Marc Chagall-inspired curtain, featuring "The Fiddler," from which the musical takes inspiration for its name and masterfully created by the company's production designer, Dahl Delu.<br />
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Central to the plot, Michael Finnegan magnificently embodies the patriarch Tevye, a man who dreams big and lives humbly as a part of the Jewish community, Anatevka. As any good and devout Russian, he lives his life by "Tradition," the village's rousing opening act, but we also see that he is a dreamer as well, in his memorable solo, "If I Were A Rich Man." Balancing his bravado is his wife Golde, who rules at times with an iron fist. Played by Lorri Oliver who brings a tremendously strong voice and character to the role, Golde gives solid ground to the dreamer she is married to, and the backbone needed to discipline their five girls: Tzeitel (Elise Mouchet), Hodel (Daniela Deuel), Chava (Adrianna Deuel), Shprintze (Cristina Deuel) and Bielke (Riley Martin).<br />
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<a href="http://www.spreaker.com/user/4723351/fiddler-on-the-roof-by-landmark-musicals" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8U4tXu6GfwrnHyYlex_u9fNtmcpLcn185peVAjVjrEjhaBREx2uhZ7VuQ7bLNWcmybTrTG5W1IwB__Kk50J2cj2jbK63_LBDNg7R6OHTgGAieSXGtv7D7yL-CjkCKNaocJQwO5UKFUDLp/s1600/tinypodcast.jpg" /></a><i><b> <a href="http://www.spreaker.com/user/4723351/fiddler-on-the-roof-by-landmark-musicals" target="_blank">Click HERE to listen to Lorri, Daniela and Julian talking about the show</a></b></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFVjLX0-UevzCWwkGojiQmBu0hsS0CAZpQRSyvGUV2M2FJ6LceckrUDndCksbnbBWkc1t5r0bewbrLt5M-k0qFuTCevIMjA_jnmLYoHFU5xhdTHoW_Garcu1KYoTkYdl2U0s_9Uk40mebK/s1600/fiddler1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFVjLX0-UevzCWwkGojiQmBu0hsS0CAZpQRSyvGUV2M2FJ6LceckrUDndCksbnbBWkc1t5r0bewbrLt5M-k0qFuTCevIMjA_jnmLYoHFU5xhdTHoW_Garcu1KYoTkYdl2U0s_9Uk40mebK/s1600/fiddler1.jpg" height="400" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Courtesy of Landmark & Kyle Zimmerman Photography</i></td></tr>
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The dilemma of how to best marry off his progeny begins as we see the girls dreaming of love in "Matchmaker," with clever choreography catching their skidding mops. More inventive choreography was rousingly met in the "Bottle Dance," near the end of act one. Matthew Amend, Zane Barker, Justin Ray Cordova, and Luke Loffelmacher give a hair raising performance as we watch the bottles teeter (no tricks! no gimmicks!) and yet triumphantly remain atop the dancers' heads.<br />
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The plot revolves around the dynamics between the young couples, as the revolutionary and contrary ideas of the young begin to supersede the elder's established ways. Tzeitel and Motel (Max Woltman) break with the tradition of an arranged marriage, choosing their love to each other. Woltman's gentle tailor gave the audience plenty of laughs, especially when playing against Finnegan, endearing the young couple as they fight for their love.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijDRh8NXqDBJJBbigdGk1GwpvFRNh0OoLbaWsciv2MTwRbafRdSN3ZS22JRPqrSS3HYTTXNvAar14ANs8L6IFmSa0Vmlwjl4XGtVUIS_TRJWf0ZC0nABXM_sjshtM3u-D2aoVNmgLAidga/s1600/Fid0585.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijDRh8NXqDBJJBbigdGk1GwpvFRNh0OoLbaWsciv2MTwRbafRdSN3ZS22JRPqrSS3HYTTXNvAar14ANs8L6IFmSa0Vmlwjl4XGtVUIS_TRJWf0ZC0nABXM_sjshtM3u-D2aoVNmgLAidga/s1600/Fid0585.jpg" height="212" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Courtesy of Landmark & Kyle Zimmerman Photography</i></td></tr>
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The bookish Hodel and Perchik, the forward-thinking student from Kiev (Julian Singer Corbin), press tradition even further as they too arrange their intention to marry. Tevye, with much pondering where he breaks the fourth wall and charmingly addresses us even as he is addressing himself, eventually gives his blessing. But it is young Chava and Fyedka (Harrison Wirstrom) who bring an even greater challenge for Tevye to reconcile, even as his world changes for good.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxhgXs25vgQULKVvC_gpDfhm1yb6Uaw4TYlX_mQTDY2m6aN1PFqlDaagrBFm53D7mMkIN-iwbm5R2DCNzyX44LmsVsYqRYk2kPs0FQ-F87ucVVx9FBJQZt6oKNMCqMn2IZVaXL7tK-pOYe/s1600/Fid3361.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxhgXs25vgQULKVvC_gpDfhm1yb6Uaw4TYlX_mQTDY2m6aN1PFqlDaagrBFm53D7mMkIN-iwbm5R2DCNzyX44LmsVsYqRYk2kPs0FQ-F87ucVVx9FBJQZt6oKNMCqMn2IZVaXL7tK-pOYe/s1600/Fid3361.jpg" height="208" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Courtesy of Landmark & Kyle Zimmerman Photography</i></td></tr>
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The beliefs and customs of a Jewish rural community under the Tsar are integral to understanding the show. In "The Dream" sequence, we see how the superstitions of the people are intermingled in their decisions, with special mention to Wendy Barker who gives a wonderful performance as the ghost of Fruma Sarah, Lazar's late wife, and catching the audience up in the supernatural fun. Throughout both acts the company's mutually strong vocal performance, overseen by musical director Andrew Alegria, was as consistent together as it is in their solos and duets. Two additional strong characters who shine in this show include Lazar (Vernon Reza) and Yente (Kathy Mille Wimmer), both delighting the audience in their moments as well.<br />
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With live music to enjoy, this production meets the high standards Landmark Musicals is known for, and delivers an evening of heartfelt fun for all. To get tickets in advance, visit <a href="http://www.unmtickets.com/">www.unmtickets.com</a> or call the box office at 505.925.5858. And for more information about Landmark's season, you can visit the company's website at <a href="http://www.landmarkmusicals.org/">www.landmarkmusicals.org</a>. </div>
Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-29545404923223548922014-03-13T13:55:00.000-07:002014-03-13T14:22:57.664-07:00A Midsummer Night's Dream by Duke City Repertory Theatre at the Cell<div dir="ltr" style="text-align: left;" trbidi="on">
Springtime is almost here, and it's a time for lovers, mischief and laughter! Celebrating the upcoming April birthday of the Bard himself, William Shakespeare, Duke City Repertory Theatre presents, "A Midsummer Night's Dream" at the Cell Theatre and playing until March 16th, where there are definitely lovers, faeries (which means mischief) and the laughter? It couldn't be contained.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicXKd2G2ZiFXI0Fha4EQIrWQV7eCM7oevpjWvb-idXWKkW54TAvne7vwuKPJf2rBIB9qZbrqRflcOq-poRjH5A9y9Sls24yVsfmbmtwyn3LuGWKLeT_d0j_DdAcs7gmKf7sZBcq6Cj355x/s1600/midsummer3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicXKd2G2ZiFXI0Fha4EQIrWQV7eCM7oevpjWvb-idXWKkW54TAvne7vwuKPJf2rBIB9qZbrqRflcOq-poRjH5A9y9Sls24yVsfmbmtwyn3LuGWKLeT_d0j_DdAcs7gmKf7sZBcq6Cj355x/s1600/midsummer3.png" height="242" width="400" /></a></div>
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An adaptation of the original, the play is presented in all its Shakespearean glory, with the actors staying true to the language and the comedy of errors' plot line of misaligned lovers who have fallen victim to faery pranks. Most interestingly, all 19 parts are played by only 7 actors, who change costume and identities but never lose us along the way as this classic's comic twists unfold.<br />
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<a href="http://www.spreaker.com/user/4723351/midsummer-nights-dream-by-duke-city-rep" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Kj6T5sVhf2oReCWTAFrg7v77lxeAjOf7ByuFeyOPnWZr-qWczZObpbHgBfcTPQbrBo0gi5pvs8mR4rMfLmrLRqLMiYCnScK72nprlZvbDrRvS870ZNkfN6CrmuPRx8rZxNjBdGg5TbeO/s1600/tinypodcast.jpg" /></a><b><i> <a href="http://www.spreaker.com/user/4723351/midsummer-nights-dream-by-duke-city-rep" target="_blank">Click HERE to listen to Frank, Amelia & Evening talk about "Midsummer"</a></i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhViLpRJWdTsbHtAb9dSUA8mUKv0Uf5yXQuXxnvyb3bj0aZSq4zHts-7GBFcKB1wXkfsHQVOg2dnsHaL82xTDbT7-JoRZQ2uuvdIJU2xnQpTHlCSbFSbBO4Pj_-ZP_M_c7RORLwsrovDNh_/s1600/midsummer2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhViLpRJWdTsbHtAb9dSUA8mUKv0Uf5yXQuXxnvyb3bj0aZSq4zHts-7GBFcKB1wXkfsHQVOg2dnsHaL82xTDbT7-JoRZQ2uuvdIJU2xnQpTHlCSbFSbBO4Pj_-ZP_M_c7RORLwsrovDNh_/s1600/midsummer2.jpg" height="212" width="320" /></a></div>
As Hippolyta and Theseus, Amelia Ampuero and Frank Taylor Green transform themselves from the nobles of the human world who prepare for their wedding, into Faerie nobility, the disgruntled King Oberon and his estranged Queen Titania. Around them we see the four lovers who fall victim to the faeries' otherworldly shenanigans, Hermia and Lysander (Lauren Myers, Ezra Colon) & Demetrius and Helena (Josh Heard, Katie Becker Colon), all due to Puck's interference. Under Oberon's orders, Puck mistakenly enchants the wrong humans while seeking to help his master, and manages to get his Lady Titania in a very embarrassing situation with a lovable donkey (also Ezra Colon) as well.<br />
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Evening Star Barron brings a new flavor of Puck to the show, with all the impish delight we usually associate the character with, as well as a maturity that comes later, giving Puck a chance to grow up and become more reflective by the story's end. "Lord, what fools these mortals be," Puck declares, and rightly so. Adapted and directed by John Hardy, audiences today may not know a Shakespearean couplet when they hear one, and they may not know they were the signal to an Elizabethan audience that a character's exit is about to occur, but for the English majors (<i>c'est moi</i>) and dramatic buffs in the crowd, we were happy that Hardy handled the text with love and care, and that the actors delve into the language of the show, and deliver layers of meaning behind the Bard's words.<br />
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In between the confusion of lovers and faeries there are the actors, the most terrible actors, who are to present their dramatic work at the wedding. Is there anything so funny as good actors portraying<i> realllly</i> bad actors? Completely engrossed in their "art," these players present their tale in the second half and worked the audience from chuckles and guffaws, to bellows of laughter. The moments at the chink in the "wall" between Colon, Heard and Green are truly gems in this piece and are sure to remind you this was a <i>comedy</i> Shakespeare wrote, and not just because it has a happy ending.<br />
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To get yourself over to see the humans playing as faeries, and the faeries playing with humans, visit their website for tickets at <a href="http://www.dukecityrep.com/">www.dukecityrep.com</a> or you can call the Cell Theatre box office at 505.766.9412. Advance tickets are always recommended for smaller houses, lest the faeries make merry with your seat and you find yourself left out of the fun.</div>
Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-41429076513454338392014-03-05T16:15:00.000-08:002014-03-05T16:33:13.566-08:00Cats at the Albuquerque Little Theatre<div dir="ltr" style="text-align: left;" trbidi="on">
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The magic begins the moment you arrive at Albuquerque Little Theatre, where human-sized theatre cats are prowling the grounds, and taking to the stage to present the musical "Cats," playing until March 23. Watch your feet as you enter the lobby and find your seats, they're as prevalent as the smiles on the patrons' faces and they don't seem too terribly camera shy, but only <i>before</i> the show begins. Once you're in your seat, keep an eye out for the aisles, corners, balconies and crevices, as the cats playfully break the fourth wall, interacting with the audience until the show begins (and sometimes after too)!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9u6Xu-PMR0HTZVrfVDnmALE0Wl17lpfzk2xUcSkgiG-cE69j2Hpns4tH0W8UIDU8sGWYopO85xtICYJzgwIVKXDTLR_lu4rVNnJ5b-ptm-fhCNnCMlxC6qyVSWNb1MiKB_TvMH_6HZ-4a/s1600/cats7.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9u6Xu-PMR0HTZVrfVDnmALE0Wl17lpfzk2xUcSkgiG-cE69j2Hpns4tH0W8UIDU8sGWYopO85xtICYJzgwIVKXDTLR_lu4rVNnJ5b-ptm-fhCNnCMlxC6qyVSWNb1MiKB_TvMH_6HZ-4a/s1600/cats7.jpg" height="263" width="400" /></a></div>
With music by Andrew Lloyd Webber, the story is based on "Old Possum's Book of Practical Cats," a series of poems by T.S. Eliot which follow the stories of many different cats, together known as the Jellicle Cats. We discover the inner workings of their feline society, with Munkustrap acting often as a narrator, played lovingly by Larry Joseph Aguilar. Steering our attention from story to story, beginning with the entire company's hypnotic chant, "The Naming of Cats," the story moves into individuals' tales, such as the delightful Jennyanydots, played with playful vigor by Shirley Roach, despite being a cat that "sits and sits and sits all day." The upbeat tap dancing number shows off co-choreographers Edye Allen and Stephanie Burch's mutual talents, and is one of many dance forms (tap, ballet, jazz, modern, lyrical, even Irish step dance) that flow into and out of the stories throughout the show.<br />
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<a href="http://www.spreaker.com/user/4723351/cats-at-albuquerque-little-theatre" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicS28vOdBmZzmsHYUfZWxhxw5_9BZAPtyQgkDXxXuepZyMNyuiCdOc6yySCVHxtI5UfyKHYr7-e8-9F86B7w1OhNtRtXfZw3xxJL65S8jC_oJ2mtjhgtxkfVcYrLr9jFhMsewd7mx1Sre7/s1600/tinypodcast.jpg" /></a> <b><i><a href="http://www.spreaker.com/user/4723351/cats-at-albuquerque-little-theatre" target="_blank">Click HERE to listen in on Larry, Dawn, and Marcus talking about the musical</a></i></b></div>
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"The Rum Tum Tugger" burst into his scene with sass as the most fickle of felines. As Marcus Robinson's ALT debut, he makes a big impression while bringing a sense of entitled elegance, slinking across the stage with liquid body rolls and sinuous choreography while giving us the essence of the rebel that Rum Tum Tugger is written to be. In the second act, Tugger reappears for another energetic performance for "Magical Mister Mistoffelees." The cats, we discover, follow their leader Old Deuteronomy (Jack Litherland), who has lived many lives and "buried nine wives," and tonight he will decide which of their kind will be allowed to go to the Heavyside, a decision and privilege which the cats regard with awe.<br />
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But it is "Grizabella, the Glamour Cat," a faded star who is now shunned by the others, a pariah even amongst her own cat kind, whose story we follow most frequently. Although she only appears onstage three times, Grizabella's story provides an arch through both acts, reminding us that sometimes a cat really can have a new life, even those cats who believe their time is over. Played by Dawn Durkin, whose rock and roll voice plays through Grizabella's tale perfectly, this role requires an actor who can evoke the most painful reminiscences without falling into <i>pathos</i>. By the second act, when Grizabella's modern standard, "Memory," is sung through, I had literal tears falling into my lap. The song, done wrong, is schmaltz. Done right? It is evocative and reminds the listener of the dreams we all once had, dreams that now seem buried and gone.<br />
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Other cats made sparkling impressions, such as the irrepressible duo, Mungojerrie (Estevan Velasco) and Rumpleteazer (Kianah Stover), whose sticky-fingered mischief together is playfully aggressive and quite acrobatic, like kittens on the prowl. Stevie Nichols, as Demeter, swishes into her number, "Macavity: the mystery cat," with breathy, sultry delight as her Fosse-esque choreography slides across the stage with seductive ease.<br />
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With strong company vocals heard in numbers like "Journey to the Heavyside," the cast works together as powerfully as they do in their solos. But the dance ability required in a musical such as this requires special mention, with cast members who must use their bodies both to tell their stories, and to give their choreography the cat-like grace called for. Erin Allen as Victoria, and Michael Maldonado as Mistoffelees, excelled in their dance moments onstage, giving artistry to the show's pop. As a whole, the choreography is woven into and out of the entirety of the show, with dance breaks that vary from solos, small groups, a lyrical <i>pas de deux,</i> or even raucous ensemble numbers, such as "The Jellicle Ball" and "Macavity Fight." And, if ever there was a show that deserves<i> tombee pas de bouree glissade pas de chat?</i> It's this one, and a wink to the audience in the know.<br />
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Directed by TJ Bowlin, the show serves as an excellent example as to why so many love this musical so passionately; it delights the eye and the imagination, bending our view of reality as theatre is meant to do. Although over time Weber's score can sometimes sound dated with its '80s synthesizer sounds, the show delivers a knockout one-two punch of strong performers transformed into something magical and otherworldly. To find out if "Cats" will make a cat lover out of you, visit their website at <a href="http://www.albuquerquelittletheatre.org/">www.albuquerquelittletheatre.org</a> to purchase tickets online, or call 505.242.4750.<br />
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Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-25129741978523940242014-02-28T14:06:00.000-08:002014-02-28T14:06:31.169-08:00Rapture, Blister, Burn by the Aux Dog Theatre Company<div dir="ltr" style="text-align: left;" trbidi="on">
Oh, we humans... our foibles, our tendencies to dream, as well as to torment (mostly ourselves) with the question, "What if?" So many of us have faced a "crossroads moment" in our lives and taken (by choice or happenstance) one path, only to look back and wonder about that other road we didn't travel, and to ponder. This is the essence of the dilemma behind Aux Dog Theatre's latest work, "Rapture, Blister, Burn," a Pulitzer nominated comedy by Gina Gionfriddo that's now its Southwest premiere.<br />
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It begins with a love triangle from college -- two girls, roommates even, and one guy. When Catherine loses Don to Gwen, events are set into motion that provoke each of them to later wonder, "What if?" Don and Gwen (Ryan Montenery and Jessica Osbourne) are married with children, living a life of suburban normality. But Gwen recalls the education and career she never pursued, and wonders if she would be happier if she had. Catherine (Sheridan Johnson) recalls the love she shared with Don, and despite giving her life to her career, realizes that when her mother (Gail Gillock Spidle) passes, there will be no one left who truly loves her, and questions her life's choices as well.<br />
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<a href="http://www.spreaker.com/user/4723351/rapture-blister-burn-at-the-aux-dog" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixTnfD0aFbBAr_brfw5uUUm0-LQZPm8O8vt_Wmlj3VCXjDjrxBMYkzh32h6HBGy_3DH_K86B6uvAI3qNxpJvhZSo5p9DJk5_QIpM5tU2kxJXEV4i1TVCBy26UPvggjXPO_VfBtVIAthm4b/s1600/tinypodcast.jpg" /></a><b><i> <a href="http://www.spreaker.com/user/4723351/rapture-blister-burn-at-the-aux-dog" target="_blank">Click to hear all five cast members discussing their roles in the show</a></i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaJDTwqzm2YRaQae__RZJZUSrHhaEAv3o9_mT2j6uHWRcRoKBdL5YUIgNoTe-MXWOA9-oKir8OAdXhOYBDy8e-PIAZkvKVeeZZkqK7V6KewaqA3Ya2oGsobxSKKKMw3azJH-E-5oj_5tOt/s1600/RaptureWomenRussell+Maynor.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaJDTwqzm2YRaQae__RZJZUSrHhaEAv3o9_mT2j6uHWRcRoKBdL5YUIgNoTe-MXWOA9-oKir8OAdXhOYBDy8e-PIAZkvKVeeZZkqK7V6KewaqA3Ya2oGsobxSKKKMw3azJH-E-5oj_5tOt/s1600/RaptureWomenRussell+Maynor.jpg" height="320" width="316" /></a>Catherine's informal classes on feminist theory held in her home provide the premise of this play something meaty and thought provoking to hang its love triangle on. As Catherine instructs her two students, Gwen and Avery (Sara Rosenthal), the flippant teenager whose outlook on femininity is somewhat pessimistic, she's also joined by her martini-making mother, Alice (Gail Gillock Spidle).<br />
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Avery provides the youngest perspective on the feminist discussions; her outlook is bleak yet realistic, if overly simplified. Observing Gwen and Catherine twist in the discomfort of their own life choices between career versus marriage, she declares, "Women are fucked!" Alice voices the views of an older generation, and the rules women lived by, giving us perspective on how things have changed (and how they haven't).<br />
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The characters discover their own solution to the dilemma of how to have it all, or as Catherine put it, "Create a life that makes you happy." But... well, we're human, and even with the best laid plans things still fall apart. Perhaps one detail that spoke to me most poignantly was the use of the set during scene changes, when telephone sex ads, love scenes from classic films, and other images of women, love, and sex are projected onto the walls. After all, what more are these "What if?" moments we torment ourselves with but our own internal projections?<br />
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It is Avery who says, "We all have personal mythologies," just as we all have these crossroad moments in our lives that make us wonder about the greener grass we never found. Directed by Kristine Holtvedt, the clever comedy left me still pondering some of the show's concepts, and I love when art provokes that kind of introspection, emotion and analysis. To find out more, or to buy tickets online, visit their website at <a href="http://www.auxdog.com/">www.auxdog.com</a>, or give the theatre a call at 505.254.7716.<br />
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Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-69261806826934111632014-02-25T14:44:00.000-08:002014-02-25T14:44:42.507-08:00Swan Lake by Ballet Repertory Theatre at the Kimo<div dir="ltr" style="text-align: left;" trbidi="on">
Now in their 24th season, Ballet Repertory Theatre is serving up "Swan Lake," a classical and tasty Tchaikovsky treat for the dance lovers in our community. Despite having seen this show often in times past, I never grow tired of it; there are so many options for dancers to choose from when approaching such iconic roles, and so many ways for the choreographer to choose to present this tale. BRT's newest staging of the classical ballet does exactly this, combining elements of the familiar with new moments of discovery for the audience to enjoy.<br />
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Placing equal emphasis on acting ability as well as technical ability, choreographer Alex Ossadnik stages this story in four acts, allowing the fairy tale to take precedence instead of being the afterthought that some choreographers have treated it as. Ossadnik also deviated from the expected in casting the role of Odette/Odile, White Swan/Black Swan, who is often performed by the same dancer but is danced by two dancers for this production. Erika Ray plays the delicate Odette, a princess doomed to appear as a white swan who falls in love with Prince Siegfried, danced with clean precision by Mauro Villanueva. In pursuit of the Prince's kingdom, the scheming Baron von Rothbart (Michael Smith) seeks to place his daughter, the seductive Odile, danced by Briana VanSchuyver, in line for the throne instead. Using trickery at the masquerade ball, Rothbart switches Odette for Odile, and consigns the Prince to marry the wrong woman.<br />
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<a href="http://www.spreaker.com/user/4723351/swan-lake-by-ballet-repertory-theatre-nm" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_df6vWSFV8C81NV2FY4gOVO0YMlvCMSqdliLm70J22MBdndhgU2jzFccu2e9R3GmsVwu6AMA1HEdQqwTHBEO8ttcStXrT7Ok0B06OUeCoEXe6dCST9wVJBmQh20O44AHyjV41Fxk4ak-k/s1600/tinypodcast.jpg" /></a> <b><i><a href="http://www.spreaker.com/user/4723351/swan-lake-by-ballet-repertory-theatre-nm" target="_blank">Click HERE for Erika, Briana, Mauro & Michael talking about the show</a></i></b></div>
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The technique required by this classic's choreography is always of a high caliber, and the entire company sets the artistic bar(re) quite high. By Ossadnik's vision, we see moments that recall pure Petipa, such as the <i>pas de deux</i> in act two when Odette and Siegfried first fall in love, while others are completely unique, such as the Black Act's <i>pas de quatre</i> between Odette, Rothbart, Siegfried and Odile. With such strong pointe technique displayed by Ray and VanSchuyver, and superb partnering technique by Villanueva and Smith, as well as Smith's ability to find his brooding villain, the principle characters combine their personal expression with the story they're given and in return, believably embody the characters' archetypes.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXwrxdVn0Gr9H_dtz6e4WONAYiQSPBu86gcN7vG9gnqqZjW5IIS78amsTStrN1qN-Owy3HY8-FQnMPuBF0hiCiM_NsEyzTp47QEvFwMnyktsuFyiisU9JN5ti9lo2yntxxvVEM_qpbMgsv/s1600/swanlake3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXwrxdVn0Gr9H_dtz6e4WONAYiQSPBu86gcN7vG9gnqqZjW5IIS78amsTStrN1qN-Owy3HY8-FQnMPuBF0hiCiM_NsEyzTp47QEvFwMnyktsuFyiisU9JN5ti9lo2yntxxvVEM_qpbMgsv/s1600/swanlake3.jpg" height="320" width="256" /></a>Ray must remain delicate, tortured, and innocent in her movements, while VanSchuyver is aggressive, powerful and seductive in hers. Beside the foreboding character of the Baron and the innocence of the Prince, the dancers build their characters' stories as equally as they do their choreography. One role, that of the Queen, was also notably changed, and allowed for dancer Annie Cormier to bring her own pointe technique to the part. Most often presented in character shoe, Cormier's pointe shoes allow for Siegfried and his mother to perform their own <i>pas de deux </i>in act one, a bit different from most productions.<br />
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I spoke with Ossadnik after the opening night performance and asked about another directorial choice he made, removing the famous (or infamous?) 32 <i>fouette</i> turns that traditionally are Odile's to perform in the Black Act. Over a century later, the turns are almost expected, ever since Pierina Legnani performed them in 1895, but dance critics question are they necessary? Romantics insist they embody Odile's bewitching power to seduce the Prince, but detractors compare the choreography to a circus act, calling them superfluous and meant to entertain a less sophisticated audience. Upon questioning, Ossadnik demurred, insisting that by his vision the <i>fouettes</i> are only needed when technically called for.<br />
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They were not missed, especially given the dense amount of complex choreography to be seen, and the lovely work done by the entire <i>corps de ballet</i>, in cannon and otherwise. Another iconic moment the company resonated with was act two's dance of the "little swans," which brought cheers and whistles from the house on opening night. "Little swans" was another example of Ossadnik holding true to the Petipa classic, where the choreography was not watered down to accommodate an imperfect dance technique, but instead kept true to the original and all four dancers performed the fast, intricate and challenging <i>pas de quatre</i> superbly.<br />
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Other moments in this production recall a child like sense of delight, most especially the climactic ending where Rothbart stirs the waters of the lake into a storm, reminding me of the effects you read of that were accomplished in the Maryinsky Theatre where this ballet debuted well over a century ago. Yet another choice "Swan Lake" choreographers must make is how to end it... there are several versions, some happy and some sad, and without giving anything away, I can definitively say the Ballet Repertory Theatre's ending left me feeling satisfied. Like a harmonious four course meal, the ballet in four acts has moments of light, airy sweetness tempered with heavy, and saucy, choreography that is meaty, complex and delicious, and meant to be savored and enjoyed.<br />
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Under the direction of Artistic Director Katherine Giese, BRT has continued to develop their company's repertory so that it is chock full of classic and modern ballet forms, delighting both types of balletomanes. To get your tickets, and to find out about their classes and workshops, visit their website at <a href="http://www.brtnm.com/">www.brtnm.com</a> or you can visit the Kimo Theatre website for "Swan Lake" tickets at <a href="http://www.kimotickets.com/">www.kimotickets.com</a>.</div>
Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-54158323423347684082014-02-22T13:57:00.002-08:002014-02-22T14:17:43.549-08:00Max's Magic Theatre, featuring magician Max Krause<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7eQpsiPWUR26A2Jw_9ReMSDjxql-y6w0LWZKNXver9Lu9K7Jg6UKcgBJy94ff4w42QzeDK2GLEWV6h40c_7GAp1JLz3NyIymc-sp1ZjWaDTfJ18dFYQ8cmyv0vOUhnAlNcHfiEhQY_aAu/s1600/Max+Promo1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7eQpsiPWUR26A2Jw_9ReMSDjxql-y6w0LWZKNXver9Lu9K7Jg6UKcgBJy94ff4w42QzeDK2GLEWV6h40c_7GAp1JLz3NyIymc-sp1ZjWaDTfJ18dFYQ8cmyv0vOUhnAlNcHfiEhQY_aAu/s1600/Max+Promo1.jpg" height="320" width="212" /></a>Something about watching magic awakens the child in me, and I know I'm not alone. When we watch something seemingly miraculous happen, even if our cynical, grownup mind knows it's all an illusion, we still marvel at the moment when it unfolds. This sense of wonderment is what Max Krause brings to his own magic show, playing several nights every week at Max's Magic Theatre, located along Central in Albuquerque.<br />
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Is magic an art, you might be asking? You better believe it; any performance artist worth his salt has spent hundreds (at least) of hours in practice, and rehearsing their act, until it becomes the flowing, uninterrupted performance which easily suspends that stubborn "window of disbelief." Having performed in 48 of the 50 states, Krause is no stranger to stage, but started his one-man Albuquerque show last year in March as an adjunct to Max's Magic Shop which he also owns (naturally). </div>
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<a href="http://www.spreaker.com/user/4723351/magic-maxs-one-man-show" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqI9anv2yNliROGO8IcMUgbRfnf3Uzn7GYQjqL7khTW7wQ2xKEJ0FVUnfKCjD5Z1mVbe4i_2HBcydJE6bqZ_qeYLsvmljIXCz24to42AA4XhGdVcjzKne4v42bbZiG3VaObsVW_RkOk9yB/s1600/tinypodcast.jpg" /></a><b><i> <a href="http://www.spreaker.com/user/4723351/magic-maxs-one-man-show" target="_blank">Click HERE to listen to Max Krause talk about his magic show</a></i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiavjmajVKKw2Ipxzl4FXsz0WDqAUIij1whacZK481WaCMRhlNX4721ZUlbxqa12JqUYbrJnRmElMyVebANC8dBtPaHHbZQ97WUEg06lZrCN-VVwZVGM5YDEBQmh6hTh0w5GfICwjcYGWsa/s1600/magic2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiavjmajVKKw2Ipxzl4FXsz0WDqAUIij1whacZK481WaCMRhlNX4721ZUlbxqa12JqUYbrJnRmElMyVebANC8dBtPaHHbZQ97WUEg06lZrCN-VVwZVGM5YDEBQmh6hTh0w5GfICwjcYGWsa/s1600/magic2.jpg" height="320" width="240" /></a>The performance space is an intimate 24-seat theatre which allows every audience member not only the chance to see everything Krause does from a close vantage point (which certainly enhances the "How did he do that?" effect) and, even better, Krause pulls every willing member of the audience onstage to become a part of at least one of his magic tricks.</div>
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The show itself is a combination of many traditional magic effects (sleight of hand, card tricks, cup and ball) but also many more effects which defy immediate explanation, perhaps as good magic should. The rubber band trick? That was the one I was called onstage for, and despite the magic happening only a foot away from my nose? I couldn't find the trick! </div>
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By the end of the evening, I left with my cheeks hurting from smiling for so long (fact). A family-friendly show, Krause keeps his act clean so that even the kids in the audience can enjoy the performance, and take their parents on an outing for a change. So skip the babysitter, bring the kids, or delight the kid that still exists in you... it's that kind of event.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJflH1wJl3To6iIEjpGZmhHFKQWM5ZA0E91BuTT4fVpOhfLX9sse_oSx7daYbz6qdYcz-T5FUa_pkG7SRi9L1AJIdjoWEhBC4d62pAjN2_Ub3h__wiQdqXd6EB6NTh8SDIPLDQSCJY2xGj/s1600/magic3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJflH1wJl3To6iIEjpGZmhHFKQWM5ZA0E91BuTT4fVpOhfLX9sse_oSx7daYbz6qdYcz-T5FUa_pkG7SRi9L1AJIdjoWEhBC4d62pAjN2_Ub3h__wiQdqXd6EB6NTh8SDIPLDQSCJY2xGj/s1600/magic3.jpg" height="150" width="200" /></a>The shows play at 7:30 and 9:30 on Fridays and Saturdays, as well as 7:30 on Mondays, "Weekend Workers Night". To find Max's Magic Shop and Magic Theatre, look for the Lily Barrack awning near Central and Richmond, and you can find the sign that points you to the door where you can enter. Tickets are also available online at <a href="http://www.maxsmagictheatre.com/">www.maxsmagictheatre.com</a> or call them at 505.255.2303. The curious are more than welcome to shop the store, either online <a href="http://www.maxsmagicshop.com/">www.maxsmagicshop.com</a>, after the show's conclusion where some of Krause's own effects can be found, or any other time when (guess what) Krause may just surprise you with a trick the moment you walk in. It's a card trick, it blows my mind... and that's all I'm gonna say. (Wink!)</div>
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Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-66026256519062549332014-02-18T17:43:00.000-08:002014-02-19T16:25:49.466-08:00The Other Place by Fusion Theatre Company at the Cell<div dir="ltr" style="text-align: left;" trbidi="on">
One reason we go to the theatre, I believe, is to find ourselves. We cast projections of our Self on to what we see onstage, and from that, build compassionate, emotional responses, and so we laugh or cry as the story unfolds. This notion of self, as well as what is found and lost in a lifetime, is integral to "The Other Place," presented by Fusion Theatre Company at the Cell Theatre in Albuquerque, as well as the Lensic in Santa Fe. Brilliantly written by Sharr White, this show just finished its last season on Broadway and is enjoying its Southwest regional premiere to many sold out houses in Albuquerque.<br />
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The story of Juliana Smithton unfolds in vignettes that give us glimpses into her patchwork identity. Like each of us, she is many things, a professional and company representative of the drug "Identomil," prescribed for dementia, i.e. loss of self. Yet she is also a mother, a (perhaps soon to be ex?) wife, and many other identities that allow the audience to glimpse her truth, yet question the veracity of what we're seeing as Juliana's tale spins out. Played superbly by Jacqueline Reid, this character's complexities are teased out, moment to moment, as Reid shifts clearly and seamlessly into and out of many realities for the entirety of the show, which is presented without intermission, allowing it to build to a momentous finish. Her sustained focus and approach allows Juliana to become more than one identity, something that refuses to be pinned down.<br />
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<a href="http://www.spreaker.com/user/4723351/the-other-place-by-fusion-theatre-co" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNkHexx61zTKYj_KePoYn04DDMpmo-RQm-LOTSp9UZNVWz8VqlZ9auosgArFtvMjm1zeV8cJVu_cXn0Qcid4BOSPeeodcmhHPRRNzsV72v1CJkn8FDCp-Mm3cJxf5mTsMBLpo91psSUf9K/s1600/tinypodcast.jpg" /></a><a href="http://www.spreaker.com/user/4723351/the-other-place-by-fusion-theatre-co" target="_blank"> <b><i>Click HERE to listen to Jacqueline and Celia talk about the show</i></b></a></div>
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Around Juliana we see Ian, her husband, strongly played by Scott Harrison. Like a counterbalance to the emotional swings that are Juliana, Ian struggles to maintain an even keel with his clearly brilliant, yet troubled wife. Celia Schaefer is described as "The Woman" in the program, and we see her brilliantly interacting with Reid intimately on so many different levels as she embodies the various female characters that tell Juliana's tale, some reoccurring, such as Dr. Teller, Juliana's psychiatrist. "Have you always been this elusive?" the doctor asks, as Juliana resists any singular description of herself, or even one singular reality. Also playing many characters is Peter Diseth, called "The Man," and embodying the other masculine projections of Juliana's multiple visions of reality.<br />
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Under director Shepard Sobel's care, Sharr's writing shines in a cast as tight and talented as this, and in a house as intimate as the Albuquerque production offers. Never losing focus, Reid gives deeply to each actor in their scenes together, and yet carries her long solo moments with breathtaking storytelling. Woven into and out of real time is the dementia drug Identomil's presentational pitch, where Juliana's eloquent soliloquies become taken over with "the girl in the yellow, string bikini," whom she ridicules, then examines, then empathizes with, as the entire tale of Juliana's reality unfolds. When the stunning truth of the girl is revealed in the last moment of the play, I was overcome with tears to see the story I had just witnessed. Which is not to characterize the story as being a downer, it's certainly not... but it carries an emotional gravitas to its finish that moved me deeply.<br />
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The opening weekend was sold out every night, Thursday to Sunday, so be sure to book your tickets to see this one ahead of time on their website at <a href="http://www.fusionabq.org/">www.fusionabq.org</a> or call their office at 505.766.9412. Albuquerque audiences have until February 23 to see the show at the Cell Theatre, and one additional opportunity that is new to Fusion. On Saturday, March 1st at 8 pm, the show will play at The Wool Warehouse, The Cell's neighbor to the south. This is their inaugural visit, and because of the larger venue, a "Pay What You Wish" performance is being offered. And, Santa Fe crowds can see this gem too when they pull into the Lensic on March 7 & 8.</div>
Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-3565465797315442192014-02-05T14:13:00.000-08:002014-02-05T14:35:00.555-08:00The Mousetrap at Albuquerque Little Theatre<div dir="ltr" style="text-align: left;" trbidi="on">
Classic Agatha Christie is what's caught for audiences to enjoy in "The Mousetrap," currently playing at the Albuquerque Little Theatre. Still running since its October 1952 premiere in London's West End, this show holds the record for the longest initial run in theatre history, to the delight of audiences everywhere, since you don't have to visit London to see it for yourself. (Incidentally, it's never been published either, as Christie stipulated it could never be published nor produced in film until the theatre's run concluded... and it still hasn't).<br />
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Mollie Ralston and her husband Giles are the new owners of Monkswell Manor house and are eager to begin their business adventure when their opening is riddled with mishaps. An unexpected snowstorm ensures that the scene has been set, and we watch as a classic murder mystery unfolds, including the twists and turns Christie is known for. Molly greets her new guests, played by a well cast ensemble, each of whom knows how to skillfully conjure their character (and their character's secrets) for the audience to enjoy.<br />
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<a href="http://www.spreaker.com/user/4723351/the-mousetrap-at-albuq-little-theatre" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnB4Mtw1XZnrySrTKM76Tk9GuMv94hf8ODeHSwyNWvXi_m4dN5QgD1SecSAYzgozpPrLidNjGF6YI5mEdHHDNKkOpBgV63SGLOTDBEYzjbvJPvroII22HWEcD9YaUcnLNCRBeLMRSIOIgX/s1600/tinypodcast.jpg" /><b><i> Click HERE to listen to Kristine, Matthew and Brian talk about their roles</i></b></a></div>
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With many memorable moments, Matthew Van Wettering creates the cackling Christopher Wren, a huge character in his own right who cavorts and swishes through the manor house with a child-like, simpering glee. Dour and stern is Carolyn Hogan as the disapproving Mrs. Boyle. Major Metcalf (Stephen Zamora) carries authority, while Miss Casewell is the worldwise and well-traveled woman, played by Sarah Daum. One unexpected guest arrives last, the mysterious Mr. Paravicini (Miguel Martinez) whose car, he claims, has "overturned in the snow."<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUrlmq9VHeP7LHFoammxh5y39DwumvE6ppkBTeGywGLYgclyNW54DQIpEKRLi7KkaAx_K9to1Gi4VFeY3qXcK2LfNHkTbrCT1oVC9OYUr37UOkINN35TbbBqN9GJg2zje_YdyXRoDlYzyA/s1600/mousetrap1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUrlmq9VHeP7LHFoammxh5y39DwumvE6ppkBTeGywGLYgclyNW54DQIpEKRLi7KkaAx_K9to1Gi4VFeY3qXcK2LfNHkTbrCT1oVC9OYUr37UOkINN35TbbBqN9GJg2zje_YdyXRoDlYzyA/s1600/mousetrap1.jpg" height="240" width="320" /></a>The last on the scene is Brian Haney as Detective Sergeant Trotter, who becomes the classic Christie detective, explaining to us the nuances in these characters' stories and unraveling the hidden back stories that each player seeks to conceal during their stay at the manor house. "You never know what anyone is really like," remarks Christopher Wren early on, and the meat of the story is trying to puzzle out exactly that. But when met with stubborn silence upon questioning, it's the cop who concludes, "If one of you gets murdered, you'll only have yourselves to blame!"<br />
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Directed by Vic Browder, this cast keeps the show tight and keeps its pace, with a story that's brilliantly told by one of our best mystery writers in modern time. The 1950's inspired set is exactly what you would hope to see, and cleverly camouflages the current lack of stage curtains, as ALT (much like Monkswell Manor) is in the midst of her own personal makeover. With over 25,000 shows playing in London alone, audiences everywhere continue to enjoy this play and as Agatha herself was known to despise reviewers who spoiled her stories' endings, you can be sure that myself and fellow audience members are keeping secret the ending of this enchanting classic. But it's so worth the surprise!<br />
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Houses were running very full, so advance tickets are recommended. Visit their website at <a href="http://www.albuquerquelittletheatre.org/">www.albuquerquelittletheatre.org</a> and remember to stay sharp, even while seated... there's a killer on the loose!</div>
Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-81029998763318025662014-01-22T19:00:00.000-08:002014-01-22T19:00:04.400-08:00Lysistrata Jones at Musical Theatre Southwest's Black Box<div dir="ltr" style="text-align: left;" trbidi="on">
If you haven't heard of "Lysistrata Jones," it's a very new show. It debuted on Broadway in December 2011 and initially received good reviews, but closed a month later after only 30 shows. Currently showing at the Musical Theatre Southwest Black Box performance space, the modern musical version of this Aristophanes-based play certainly doesn't take itself too seriously, and if you're in the mood for something lighthearted, this show is meant to leave you smiling.<br />
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In the original Greek satirical comedy, the women decide to use their feminine power to change the world by withholding sex from their husbands and lovers until they end their fighting of the Peloponnesian war. In the modern musical, however, the horny cheerleaders withhold sex from their even hornier, basketball-playing boyfriends in order to end a 33 year losing streak. The modern "Lyssie" is as driven with her need to change the world as the original, but with a healthy dose of campy comedy and incessantly upbeat lyrics, the cast works hard to give the new version an innate sense of fun.<br />
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<a href="http://www.spreaker.com/user/4723351/lysistrata-jones-at-the-mts-black-box"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmLP0XMxIL_TkD1kvxZDyMlafasDRR6M1Y0mCfxQKAedl8D4lyYLyd8UtPi_-O_AiDiNF4059Qxd5kvU9R_eUiopg019Ejvg_dQDflrN8QX2IEXuskQpaTSDj-AGNs4t2-h8yl4GVgAlyQ/s1600/tinypodcast.jpg" /></a><a href="http://www.spreaker.com/user/4723351/lysistrata-jones-at-the-mts-black-box"> <b><i>Click HERE to listen to Devon, Erik, Rikki and Joey talk about the show</i></b></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj68XXh-U3xFsFyqBwAwU8d65i_Vzj3Eftr_5l39ugo9wwiqTjX_Phmbgl2SzE-l7N5A5R7eXsU1Ck4Wo_iM3f3gnrmb-E5fy1voc6-CRhUE8fPshw1nX06W9SGwParMGeTMjDOYwx1avaG/s1600/jones3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj68XXh-U3xFsFyqBwAwU8d65i_Vzj3Eftr_5l39ugo9wwiqTjX_Phmbgl2SzE-l7N5A5R7eXsU1Ck4Wo_iM3f3gnrmb-E5fy1voc6-CRhUE8fPshw1nX06W9SGwParMGeTMjDOYwx1avaG/s1600/jones3.jpg" height="213" width="320" /></a></div>
Devon Frieder plays the peppy newcomer Lysistrata "Lyssie" Jones, whose high minded ideals seem to catch on at Athens University. Frieder's behind the scenes involvement brought this show to Albuquerque as a production for <a href="http://www.warehouse21.org/" target="_blank">Warehouse 21</a>, a Santa Fe-based organization that's dedicated to fostering artistic expression in young people. Frieder also acted as the show's director and choreographer (and costumer!) As the title character, her strong vocals are showcased in a show such as this, most certainly in numbers like "Where Am I Now?", and when combined with her high cardio, cheer-infused choreography for the entire cast, the outcome is frenetic fun.<br />
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Lyssie's boyfriend, Michaelangelo "Mick" Jackson played by Erik Joshua Clack, is full of swagger and not so keen on the girls' ideas on how to win a Spartans game. Clack also played double duty in this endeavor, acting as musical director as well, showing the labor of love that this cast approaches the show with. Surrounded by his posse, Mick and the rest of the basketball team defiantly decide to fight fire with fire and give their attention to porn, to each other, to video games, and basically anything else that might relieve their sexual frustrations and foil the girls' plans.<br />
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Also embroiled in the war of the sexes is slam poet Robin (Amy Bingen), and Xander Lee (Joey Cote), the liberal blogger who learns to reengage in the real world thanks to Lysistrata's cajoling ministrations. Hetaira, played by Rikki Carroll, embodies a number of parts, acting as emcee, referee, and even (yup) the wise-cracking madame to the local brothel -- a comic role Carroll obviously relished, as did the audience -- all helping the story to unfold. Supported by a cast of strong vocals, the ensemble throws themselves into this piece with fervor. While also strong in voice, I wasn't entirely certain the hidden Greek chorus, clothed in togas and floating above the action in an elevated singer's pit, was necessary to the storytelling, but they're there too, watching over the action at Athens U like a pantheon from somewhere near the gymnasium scoreboard.<br />
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Written by Douglas Carter Beane, the lyrics are relentlessly peppy and full of messages of being true to yourself ("Give it up! Whatever's keeping you from being you / Give it up! You gotta just believe!"). The show itself seems to pattern itself as something of a "High School Musical" meets "Legally Blonde" meets classic Greek theatre mashup, and as long as you don't search for a high minded, feminist message in Beane's work (women who cross their legs to win a basketball game and thereby "change the world"?) you will enjoy this casts' high octane performance. </div>
Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-79176258239386439182014-01-16T07:45:00.000-08:002014-01-16T07:45:39.284-08:00Little Shop of Horrors at the Aux Dog Theatre<div dir="ltr" style="text-align: left;" trbidi="on">
Some duos work perfectly, some don't. One happy duo is the Enchanted Rose Theatre and the Aux Dog Theatre who collaborated to produce the musical classic, "Little Shop of Horrors." Originally based on the black and white film by Roger Corman, the black comedy musical version is set in Skid Row during the early 1960's, featuring the perfect duo of doowop sound and campy comedy along side the imperfect duo of a man and his hungry, flesh eating plant.<br />
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Tim MacAlpine plays Seymour, our lovable loser, the orphan from Skid Row with few prospects. Yet everything begins to change for Seymour after the eclipse when a strange plant appears, whom he lovingly names "Audrey 2" after his coworker and object of his unrequited affection. MacAlpine maintains Seymour's quirkiness and balances out the character's nerdiness with naivete, finding the lovable and courageous aspects that Seymour can also be.<br />
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Jessica Osbourne plays Audrey, his tawdry love interest, and expands on her comedic talents last seen in "Boeing, Boeing" by adding her vocal abilities in this musical. However, Osbourne is an actor first. I was sitting close enough to see the tear that fell during her solo number, "Somewhere That's Green." If you weren't close enough, you might not have seen it because Osbourne (lucky girl) doesn't do the ugly cry or choke up, and by finding Audrey's innate vulnerability, she keeps her from being a simple dumb blonde stereotype. We might find Audrey's dreams tacky, but she thinks they're sublime and that's why we care about what happens to her.<br />
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<a href="http://www.spreaker.com/user/4723351/little-shop-of-horrors-aux-dog-theatre"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji7Ip-MsX6_ai_dy612oCUuppFAt5_Hph8c5lJnn6CN3qTGEDNImL_CrLOF5sO-N8idMaTnfjv-eANyMZ5hwFxg49-JpcfYESASA8mAnZ6kGRFPWn8A-JEuKqzK_GYnvtlWuvZvZ17qYqE/s1600/tinypodcast.jpg" /></a><b><i> <a href="http://www.spreaker.com/user/4723351/little-shop-of-horrors-aux-dog-theatre">Click HERE to listen to Tim, Jessica and Gene talk about their roles</a></i></b></div>
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Audrey's abusive boyfriend, Orin, the sadistic Skid Row dentist, is a quirky comic role requiring an actor who's willing to play broad humor and yet remain believable. Bryan Lambe throws himself into the bizarreness of the leather clad, nitrous oxide huffing motorcyclist fully, delivering our villain. Orin is just one of Lambe's roles in this show, who shifts from character to character often, but it is the dentist who allows him to showcase his own growing comedic talents.<br />
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As Audrey 2's popularity grows, so does business for Mushnik, played by Phil Shortell, the Skid Row florist and Seymour's employer. Audrey 2's carnivorous appetite is growing also, as we discover her appetite for blood which Seymour alone can no longer fulfill. The puppetry of the Audrey 2 was superbly done, both in presentation of the puppet itself in its various stages of maturity, but even more so due to the comic duo of Michelle Gammill, the human puppeteer, and Gene Corbin, the deepset bass voice of Audrey 2. Requiring an ability to coordinate on an almost intuitive level, the two bring our plant to life, and Gammill's full body performance is quite convincing and commendable in its unabashedness.<br />
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Not to be forgotten are the trio Crystal (Hannah Guzman), Chiffon (Sandra Williams) and Ronnette (Klarisa Thornton) who interact in scenes but also act as the occasional Greek chorus, narrating events. With strong solo moments for each voice, the girls add to many scenes and numbers such as "Dentist!" The joy of the Aux Dog's intimate theatre is it allows the natural, unamplied (with the obvious exception of Audrey 2) voices to shine through, as well as the live music that they feature here, which is always to be enjoyed.<br />
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Directed by Vernon Poitras, with choreography by Edye Allen, the theatre sold out every show for the first weekend, and this perennially popular musical is bound to keep selling out so advance tickets are recommended. Visit the Aux Dog Theatre's website at <a href="http://www.auxdog.com/">auxdog.com/</a> to buy tickets online, or call their box office at 505.254.7716. And, click on <a href="http://www.abqtheatre.org/index.php/members/theatre_page/172">Enchanted Rose Theatre</a> for more information about their company's works as well.</div>
Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-92025575933674235842014-01-08T14:59:00.000-08:002014-01-08T14:59:00.093-08:00TLC & Popejoy Presents "Life on the Road" with Jonathan Ragsdale<div dir="ltr" style="text-align: left;" trbidi="on">
Hosted by the Theatre Lovers Community and Popejoy Presents, local talent Jonathan Ragsdale gave a talk at Musical Theatre Southwest's Center for the Arts on January 30th, while taking a break in his touring schedule for the Broadway show "Memphis." The show will be pulling into Albuquerque this June 5-8 at Popejoy Hall, coincidentally the last stop on the tour that Ragsdale is currently performing in.<br />
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Facilitated by Terry Davis, Ragsdale spoke about getting the call from casting, a typical day on tour, the challenges of life on the road -- turns out finding places to eat that are close to the hotel and still open at odd hours is one of the biggest -- and what he loves most about his job. Ragsdale fielded questions from the audience for nearly an hour as well, answering everything from salary and contract questions, to how long did he have to wait to find out he got the job (after 5 callbacks auditions there was a 3 week wait until the call came), and what it's like to perform in a show of this caliber? He smiles broadly when recalling being onstage for the show's final number. "I live my entire day just to get to that energy in the finale," Ragsdale confided, grinning.<br />
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Ragsdale provided behind the scenes glimpses, including home made videos of the casts' "Stronger Challenge," something of a tradition backstage on this show. The actors take on a variety of tasks to try to complete in the short time they are off stage, but their body microphones are on, so they must remain silent during their tasks, which can vary from how many cupcakes can be consumed without water to how many high fives they can run around and get from the tech crew before being back in place on time (see below).<br />
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The dream job takes a toll as well. "It's good but it's exhausting." Ragsdale says, "You're always working." Often performing 10 shows in one week, life on the road can be physically and mentally exhausting as well as exhilarating. When Ragsdale left Albuquerque for New York City last February, #ArtInNM covered <a href="http://artinnm.blogspot.com/2013/02/grateful-jonathan-ragsdales-farewell.html">his cabaret</a> as well.<br />
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To keep up with future challenges and other videos, subscribe to<a href="http://www.youtube.com/channel/UC2og-HxqyD_U5JY2Ho2JIeQ" target="_blank"> Jonathan Ragsdale's youtube channel</a>, and you can also follow him on Twitter <a href="https://twitter.com/TheJRags">@TheJRags.</a> For tickets to "Memphis," visit the<a href="http://www.boxofficeticketsales.com/venue/popejoy_hall-tickets-for-sale.aspx?gclid=CKKhyKju6bsCFepaMgod-VcA_Q"> Popejoy ticket website</a>.</div>
Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-70367263462175482462014-01-03T14:44:00.000-08:002014-01-03T14:56:40.409-08:00Barnum by Musical Theatre Southwest<div dir="ltr" style="text-align: left;" trbidi="on">
Theatre is about taking chances, and if anyone understood that it was Phineas Taylor Barnum, a man who had a long career before he ever got involved with a circus and a guy named James Bailey. Musical Theatre Southwest took something of a chance by offering this show, Barnum, during December, as it doesn't fit in to the typical Christmas-y theatre options the public might expect.<br />
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In the striving to find a family friendly show, a show whose rights are available to regional theatres, and something that's different than what fellow companies are also playing, other shows come to the forefront, which may partially explain this choice during the holiday season. Before the show began, the circus atmosphere was encouraged as red noses were handed out to the audience (and worn by some!), and the character Charity Barnum begins onstage, knitting quietly, for the half hour that the house is open but the show has yet to begin.</div>
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With book by Mark Bramble and set in 1835 to 1880, the story of P.T. Barnum (played by Erick Seelinger) unfolds, beginning with his touring acts such as Joice Heth, the "160 year old woman." Rarely leaving the stage, Seelinger's ability to maintain a strong voice in the many numbers that he must perform in this show is commendable. Also worth mentioning was Stephanie Burch's ability to sell a number, even behind a slightly frightening old age mask, which came next in Joice's number, "Thank God I'm Old." However, the pacing of the show begins to slow down afterwards and the songs, written by Cy Coleman and Michael Stewart, have a tendency to last a verse (or two) longer than the action of the scene provides. The dynamic between Charity "Chairy" Barnum, the sensible suffragist played by Wendy Barker, and her husband she calls "Taylor," the lover of all things bright and bombastic, is explored (and explored, and explored) in "The Colors of My Life."<br />
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<a href="http://www.spreaker.com/user/4723351/barnum-at-musical-theatre-southwest" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHZxFlf6o9LszW14u9Q75ThGQ0u8cSwTI2ECkZrYigUhUDOrJf4D4cJeGLmdrmSbn5kE3_yDkcGeYYWNIcbtQz-P_5y1MIKqcQFDsbb2Xv7PzvKnpyZsRfOMB6xMwkWiQcneyJrCkBu5_N/s1600/tinypodcast.jpg" /></a><b><i> <a href="http://www.spreaker.com/user/4723351/barnum-at-musical-theatre-southwest" target="_blank">Click HERE to listen to Erich, Claire, Wendy and Zane talk about the show</a></i></b></div>
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Knowing the importance of the razzle dazzle, the scenes between Chairy and Taylor are interspersed with circus moments that act as transitions, and songs such as "One Brick at a Time," as Barnum builds the American Museum. With performers balancing on balls, juggling, twirling ribbons, spinning plates, cracking whips, stilt walking and tumbling about throughout the show, it helps to pick up the inherent and persistent pacing issues. Kelly O'Keefe steps in as General Tom Thumb in "Bigger Isn't Better" but his character's cameo, while entertaining, does little to advance the storyline.<br />
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After a fire destroys the American Museum, Barnum's next big idea is to find and sign Jenny Lind, the noted European soprano renamed "the Swedish Nightingale," to tour America. Requiring a truly <i>coloratura</i> voice, Claire Seelinger brings her formidable operatic training and gives this role a moment of true artistic brightness in "Jenny Lind Obligatto." I looked up <i>obligatto. </i>It refers to a prominent countermelody, often played or sung above the principal theme, and being essential or integral to the piece as a whole. This conveys so much more in one word than the song Jenny sings next, "Love Makes Such Fools Of Us All," which suffers from being placed immediately after her stronger <i>obligatto</i> moment just prior.<br />
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The conflict of a supposed attraction between Barnum and Lind lasts only the length of the intermission before being hastily resolved at the top of act two, so that the story can advance to include Barnum's political career that followed next. Stephanie Burch returns in the second act as the Blues Singer in "Black and White," and yet again revives the pace of the show, while being expertly flanked by dancers Larry Aguilar and Michael Maldonado. </div>
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While the political ambitions for mayor, then U.S. Senate, unite Charity and Taylor, they just as quickly dissolve as Barnum realizes he has been had in "The Prince of Humbug." At Chairy's unexpected death, Barnum finds himself alone and uncertain. Enter James Bailey, played by Zane Barker, and Barnum comes alive as he makes plans to enlarge the one ring circus to three rings.</div>
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Dual husband and wife teams -- the Seelingers and the Barkers, along with the two young Barker children making their way onstage for the show as well -- bring some family charm to the cast which does read to the audience. And, the actors as a whole gave a tremendous amount of themselves learning how to bring the circus to life with skills that few had prior to casting. But the brokenness of the show's disjointed plot line and sluggish pace held them back as well.</div>
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Musical Theatre Southwest's next production is "Into the Woods," playing in at the MTS Center for the Arts in April 2014, and information on the entire season, tickets, auditions, and more can be found at <a href="http://www.musicaltheatresw.com/">www.musicaltheatresw.com</a>.</div>
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Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-16845697418186264612013-12-23T13:20:00.000-08:002013-12-23T13:20:32.350-08:00The Best Christmas Pageant Ever by Duke City Repertory Theatre<div dir="ltr" style="text-align: left;" trbidi="on">
Passion for the arts comes in every size, and for many young artists, it strikes at an early age. For those who wish to hit the stage as fast as they can, stories such as "The Best Christmas Pageant Ever," produced by Duke City Repertory Company and playing at the Cell Theatre, provide an opportunity for the artist and audience alike.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Photo credit Rick Galli</i></td></tr>
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In a time when schools are de-emphasizing the arts, and slashing budgets as well, stage opportunities for young actors are met with enthusiasm by myself. So often, children's roles are diminished and one-dimensional in plays. What's most refreshing about this show, beyond its holiday appeal, is the chance for young actors to show their chops in roles that require not just line and blocking memorization, but comic timing, physical humor, and even character development. As Grace Bradley declares, "Jesus, Mary, even the short kids; everyone's important!"</div>
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<a href="http://www.spreaker.com/user/4723351/best-christmas-pageant-ever-by-dcrt" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNpX8grFtMY2i0edWAEJJPBsKnc6hXKH4dbzVoDWj1n-NjfdrPBlpV2PBCPQ2oJH6aPMeZ0mPWrwaAK7qn4nZehBzTVYo6rzy2J3Ily3-14VNOSL9_HYUGUrCN9igHQNpyTGDD6dh0CXNq/s1600/tinypodcast.jpg" /></a><a href="http://www.spreaker.com/user/4723351/best-christmas-pageant-ever-by-dcrt" target="_blank"> <b><i>Click HERE to listen to Lauren, Ezra, Mackenzie & Lillie talk about the show</i></b></a></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Photo by Rick Galli</i></td></tr>
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Lauren Myers plays Mother/Grace Bradley, the one who must direct this year's church Christmas pageant after a series of mishaps beyond her control, such as Mrs. Armstrong landing herself in traction. Equally beyond control are those "awful Herdman kids," the delinquent bunch who show up to church for the first time ever once they find out from young Charlie Bradley (Elijah Ortiz y Pino) that refreshments are being served there.</div>
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Cigar-smoking ringleader Imogene Herdman, played quite believably by Lillie Raine Kolich, bullies her way into being Mother Mary, and the rest of her siblings inevitably follow suit to join the cast as well. The heart of the show comes from watching the heathen Herdmans react to being a part of the Christmas story, having now heard it for the first time ever. Imogene has perhaps some of the best lines in the show, not only in her over-the-top pussy willow scene, but more so in pageant rehearsals, "My God! They didn't have room for <i>baby Jesus?" </i> </div>
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Surprisingly, each Herdman brings something unique to the pageant's production. Young Gladys (Ruby Webb-Sagarin) augments her part as the angel of the Lord by adding directions so the wise men wouldn't get lost. Leroy (Joaquin Madrid Larranaga) brings baby Jesus a welfare ham as his wise man's gift. Ralph (Matthew Joel Barkley) plays Joseph and Imogene garners laughs while indelicately burping baby Jesus in the way a true mother would. Perhaps it was me, but I could see Imogene having an authentic moment, likely being the one who rocked her own brothers and sisters, taking care of them in the absence of any true parental care.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDJbxG36LSwNCHlEK-IWiLp6l_Jen2bWg75Qm__EEvO8kwcDl27TLYAJP_lVSab1rSIGsv8gmCSsmlOdJtDCQofubffkNzGNPHaEbht2o4E5DWQ0chMepPhuFJISfF6xWpWqX8hRD0eQw3/s1600/pageant1.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDJbxG36LSwNCHlEK-IWiLp6l_Jen2bWg75Qm__EEvO8kwcDl27TLYAJP_lVSab1rSIGsv8gmCSsmlOdJtDCQofubffkNzGNPHaEbht2o4E5DWQ0chMepPhuFJISfF6xWpWqX8hRD0eQw3/s200/pageant1.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Photo by Rick Galli</i></td></tr>
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For the purpose of the show, the six Herdmans from the original book are reduced to four, which works nicely for the intimate playing space of the Cell Theatre. The show has many supporting parts, such as Grace's husband (Ezra Colon) but the bulk of the storytelling is done by young Beth Bradley, who often acts as the narrator in the show. Playing for a tight 45 minutes, this is no easy task and Mackenzie Jarell excels at the challenge, reminding us grownups what it's like to be caught between the peer and bully dynamics and the expectations of your parents & elders.</div>
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Directed by Katie Becker Colon, the show has all of the heart of original book by Barbara Robinson, and is a story I remember from when I was young myself, so it gave me a sense of nostalgia to come back to this story and hear it fresh once more. I admit, I am a softy through and through, and when Lillie, as Imogene playing Mother Mary, sang "Silent Night," I got a bit teary. Sure to touch your heart, the actors of this show are destined to give you a sense of Christmas cheer and remind you of what the season truly means to so many.</div>
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For more information about the Duke City Repertory Theatre's 2013-14 season, as well as their burgeoning outreach programs for children, visit their website at <a href="http://www.dukecityrep.com/">www.dukecityrep.com</a>. </div>
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Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-27550280736923995302013-12-19T14:47:00.000-08:002013-12-19T14:47:38.344-08:00Miracle on 34th Street at Albuquerque Little Theatre<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="text-align: left;">A Christmas classic, "Miracle on 34th Street," is a seasonal treat for audiences at the Albuquerque Little Theatre. Adapted from the novel by Valentine Davies, this story has been playing on our television sets as the 1947 film version for years, but seeing it live has a different pace, and keeps the show new, while maintaining the familiar for the nostalgic ones in the audience.</span></div>
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John DuBois plays Kris Kringle, the man who believes he's Santa Claus. Witnessing a drunken Santa interacting with kids at the Macy's parade, Kris steps in and insists he should play Santa since he <i>is Santa.</i> Diane Villegas brings the skeptical Doris Walker to life, a female executive at Macy's, and a single mother in a time when divorced single mothers didn't exist in normal society. Suspicious of Kris, her opinions are torn between those of the psychologists and counselors, and those she loves who believe in Kris, such as her daughter Susan (played adorably by Elise Klinger in the role movie buffs recall belonged to young Natalie Wood). But it is Kris whom Susan confides in, wishing for "a father, and a house" for Christmas.<br />
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<a href="http://www.spreaker.com/user/4723351/miracle-on-34th-st-albq-little-theatre" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwcNeQiDxh814YN524WFv-LJ3xWIi0CX71iFxlBWouPUpl_WT51lbVHaCKkImnH1n72TGMnb1h-PHRllHRATPf_QtVWmY09uvFrktKEFQ8PTcEaP-6DRzlCHvttarbFU1p3tMWLmi0QUZZ/s1600/tinypodcast.jpg" /></a> <b><i><a href="http://www.spreaker.com/user/4723351/miracle-on-34th-st-albq-little-theatre" target="_blank">Click HERE for John, Diane and Nick's interview as they talk about the show</a></i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitsj3025ABhQCx8XM8dNR2_B6504GWqGtqhySGjlpR9pg2bhlo2vQxYv6H9IwZdpL5pDPwXZvhneLEE7_yLb1JPiplWAvjAM12ij0XIHTMZGk-B3hiWnCCGFczOGPGnC4KLDjgUGN5hzjj/s1600/miracle2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitsj3025ABhQCx8XM8dNR2_B6504GWqGtqhySGjlpR9pg2bhlo2vQxYv6H9IwZdpL5pDPwXZvhneLEE7_yLb1JPiplWAvjAM12ij0XIHTMZGk-B3hiWnCCGFczOGPGnC4KLDjgUGN5hzjj/s400/miracle2.jpg" width="400" /></a></div>
Doris' jaded heart is the object of Fred Gayley's affection, played by Nick Fleming, who seeks to woo Doris without scaring her off. Fred insists Doris is afraid, but she argues it's common sense, not fear, that anchors her beliefs. As the debate grows over whether Kris is the real Santa or not, the issue is settled in court, much the same as the classic film version's tale. When Judge Harper (Hugh Witemeyer) is presented with irrefutable evidence, the verdict we all hoped for is given.<br />
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The underlying message of the play is the exploration of faith, "believing in something when common sense tells you not to," and for Doris, she must learn to believe in love and second chances, as much as she does in Kris Kringle. Giving the show some comic counterpoint is Dehron Foster's role as the psychologist Leslie Sawyer, tipping the levity with laughter in his moments onstage. A perfect choice for a show to introduce young kids to theater, with many children onstage to watch as well, the play is heart warming and full of the messages of the holiday season.<br />
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Directed by Henry Avery, the story flows nicely in and out of interiors and exteriors thanks to the set design, and kudos to the construction crew not only for some sharp looking sets, but most especially for the wow factor of the Macy's parade float.<br />
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To catch this seasonal classic, head to Albuquerque Little Theatre, located near Old Town, or visit their website at <a href="http://www.albuquerquelittletheatre.org/">www.albuquerquelittletheatre.org</a> to purchase tickets, find out showtimes, and much more about the rest of their 2013-14 season.<br />
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Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-53881714618208018792013-12-12T14:04:00.000-08:002013-12-12T14:17:31.020-08:00Up (The Man in the Flying Chair) by Mother Road Theatre Company<div dir="ltr" style="text-align: left;" trbidi="on">
December theatre options are usually seasonal fares -- Nutcrackers and plays about Santa, or Scrooge -- but for those wanting something a little different for their theatre experience, "Up (The Man in the Flying Chair)" provides it. Currently playing at the Musical Theatre Southwest Center for the Arts, this is not the Disney-fied "Up," with a lovable curmudgeon. This is a lot grittier.<br />
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Set in 1989, the dialogue between the Griffins is modernly authentic and, along with the dynamic of the family, it draws you into their tale. Perhaps director Vic Browder knew it would feel like two hours of eavesdropping, because the cast as a whole seem exquisitely aware of how easy it would be to over-act these roles and so they are slightly underplayed, and more believable as a result. In an intimate space such as the MTS Black Box, even a whiff of melodrama would spoil this play's impact. Father and wannabe inventor Walter Griffin, played by Shangreaux Lagrave, is the frustrated dreamer, full of big ideas yet unable to make anything of his ambitions to help him succeed. Amy Suman plays Walter's wife, Helen, who is frustrated beyond measure with her husband's inability to take responsibility and provide for their family, choking on her own buried rage at times, yet she never stops loving her husband.<br />
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<a href="http://www.spreaker.com/user/4723351/up-by-mother-road-theatre-company" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnSYG02ngz7E9i_m127NMJ4tlW7NqAvaiWk4lm5okQ__dJpLosmGFGkbjvGuAomV4-mFgsUPmrQRH5nyz3aV9ttZK3fS5g30goRiMCCrhfV0XAsmSkIRCPkQpl8RRYxP2x5AWfHuXySMd6/s1600/tinypodcast.jpg" /></a><i><b><a href="http://www.spreaker.com/user/4723351/up-by-mother-road-theatre-company" target="_blank"> Click HERE for Shangreaux, Amy Suman, Grey and Amy Bourque's interview</a></b></i></div>
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Their 15 year old son Mikey, played by Grey Blanco, is caught in the middle, supportive of his father's dreams but also old enough to see his mother's dissatisfaction, and wonder why his father can't do better for himself. When Mikey hooks up with pregnant teenager Maria, played by Amy Bourque, his own coming-of-age tale begins to unfold, while his father's life simultaneously begins to dramatically unravel.<br />
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Lagrave's performance as Walter has a touch of Willie Lomax to it, that sense of time slipping away and opportunities that never return, haunting and baffling the central character. Lagrave knows how to oscillate between Walter's bombastic moments, as well as his deflated ones. Commendable in her ability to sustain the rage and intensity of Helen, Suman finds the balance between haranguing and desperation. Bouncing between them, Blanco shows us Mikey's adolescent need to find his own destiny, and make his own way. When he begins to outperform his father, you sense that Mikey has lost the childhood hero that his father once was to him.<br />
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The metaphor of being "up," suspended in the sky by floating chair or high wire, calls to Walter after the one event in his life that gave him a sense of purpose and destiny -- the day when he tied weather balloons to a lawn chair to soar to a height of nearly 16,000 feet. The rest of his life is consumed with the "job" of inventing a flying chair, the Paramotor, although every new attempt seems a miserable failure. When Walter sees a picture of tightrope walker Philippe Petit, he exclaims, "There's a man who's living his dreams!" And when describing having a job to his son, Walter equates it to being "tied down," and "picking up someone else's shit."<br />
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The dream-like scenes where Petit appears to Walter are perhaps some of my favorite moments in this show. Lit in a hallucinatory purple light, actor Ron Weisberg takes his tightrope walks while philosophically talking to Walter about the meaning of life, and later, we see Mikey on the high wire with Petit, symbolically living his own teenage dreams, even though convoluted and not fully formed. These moments evolve the play from an ordinary family drama (a la Neil Simon but with more dysfunction and less humor) and into something more magical and otherworldly.<br />
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Perhaps the most inscrutable character in the show is Maria herself. Caught in the circumstances of her dysfunctional family life with her aunt (Staci Robbins) as certainly as Mikey is caught within his, Maria's emotions vacillate between a street smart fast talker, and a vulnerable, unwed mother-to-be. Bourque sells the drama pitch perfect, allowing the audience to decide by the end if Maria is a willing perpetrator of Mikey's downfall. ("Downfall," a show like this makes one realize how often "up" and "down" are deeply ingrained human metaphors).<br />
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If this premise seems quasi-biographical, it is. Although more recent lawn chair launches have been attempted, the most famous is Larry Walters', Lawn Chair Larry, the inspiration behind this Bridget Carpenter play, who launched himself via lawn chair and weather balloons in California in 1982. Also unable to find his way in this world, the real life Walters died some years later by his own hand.<br />
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For more about the show, and their upcoming 2014 season, visit the Mother Road Theatre Company website at <a href="http://www.motherroad.org/">www.motherroad.org</a>.</div>
Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-31258615415392014572013-12-08T13:45:00.000-08:002013-12-09T07:04:28.749-08:00Man of La Mancha by Landmark Musicals<div dir="ltr" style="text-align: left;" trbidi="on">
The beautiful mind of the mad man is Landmark Musicals' focus in "Man of La Mancha," the final show of their 2013 season. The show's layers of story telling are slowly revealed to the audience, allowing us to see the illusionary Don Quixote through the eyes of his alter ego, Alonso Quijana, as told by Miguel de Cervantes, who is thrown in prison, along with his manservant, for foreclosing upon a castle and awaits questioning by the Inquisition.<br />
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Described as "either the wisest mad man, or the maddest wise man," when Jack Nuzum embodies Don Quixote's persona, he is swept away by his own grandiose delusions, convincing all around him to either humor him and play along, or to scoff at his madness. Nuzum's ability to sink into each layer of his character, from Don Cervantes to Don Quixote is found in the shaping of his words and the carriage of his body, simply becoming each one alternatively. A strong tenor, his voice lives up to the challenge of Quixote and delivers the sound that longtime fans hope to hear.<br />
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Consistent in his care, despite his master's madness, is the jocose Sancho Panza, who explains away every eccentricity by remarking, "Knights have a language of their own." Played by Vernon Reza, he acts more as caretaker to his master's delusions, finding the nurturing side of this character, who could become sarcastic or sardonic in the hands of the wrong actor. Instead, Reza allows the audience to identify with Don Quixote by acting as that voice of love and reason to the visions of greatness he cannot see, but pretends to.<br />
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Cast by Don Quixote as Dulcinea, the ultimate female to whom every quest is dedicated, is local tavern wench Aldonza, whose attitude toward men and love has long since gone sour, as we see in, "It's All the Same." Tasha Waters finds Aldonza's jaded heart easily, but alternatively softens to Don Quixote's delusions, and regrets her own bitter reality. Abused grievously, she represents the harsh reality that Don Quixote's romantic notions cannot begin to fathom. Waters' operatic training shines through in the role, giving her Aldonza a larger than life quality that elevates her to the level which Quixote sees in her. </div>
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<a href="http://www.spreaker.com/user/4723351/man-of-la-mancha-by-landmark-musicals" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe8vOcY0EyF9oKquamNrG8MA84DMWNQsj73-jKZ8gL0Lo_qM38kQWLpWIZejNw-4p5YEujKBsp3YQqx-9BvniWUmaEXUrQXHx18TneVot3J2vcyFKTsccX0uC2ffgJJKB_eRsOxJqh7q3I/s1600/tinypodcast.jpg" /></a><b><i> <a href="http://www.spreaker.com/user/4723351/man-of-la-mancha-by-landmark-musicals" target="_blank">Click HERE to listen to Jack, Tasha, and Vernon discuss their roles</a></i></b></div>
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Giving counterpoint to the show was Bryan Daniels, as the Duke and Carrasco, showing Albuquerque yet again that he is becoming known for his character voices. Exceptional at keeping an accent while never losing focus in the moment, Daniels gives some menace to the production, perhaps even more so than the figure of the Inquisition itself, the Captain.<br />
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Landmark Musicals' producer Myra Cochnar describes the company's goals of bringing high production values and live music to each show, and director Paul Ford uses the home of Rodey Theatre to the musical's ultimate advantage by sinking the musicians into the orchestra pit, and allowing the pit itself to become an alternative entrance, integrated at times into the story itself. It's been done before, but it never ceases to delight me, I admit. </div>
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The sound of this show was far more operatic than a traditional musical might demand, and music director Wojciech Milewski aptly blends the Spanish elements of this score into the vocals as well. With a strong ensemble cast, the sound was full and as epic as the bombastic quests of the mad man himself; songs such as "We're Only Thinking of Him," and "Little Bird, Little Bird," showing off their "mad harmonic skills." And as proof there are no small roles, only small actors, was my favorite muleteer, Alex Wasson. His gently authentic expressions as Sancho's mule -- at times an extension of his own master's emotions, much the same as Panza extends the emotions of his own master, Quixote -- were so precious, they kept me smiling continually in this show.<br />
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For more information about their upcoming 2014 Landmark at the Rodey Season, visit their website at <a href="http://www.landmarkmusicals.org/">www.landmarkmusicals.org</a> or give them a call at (505) 453-8844. </div>
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Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0tag:blogger.com,1999:blog-3302482896820847189.post-92098364862657748242013-11-28T19:55:00.000-08:002013-11-28T19:55:38.061-08:00SPOTLIGHT: Guillermo Figueroa, Artistic Director of the Figueroa Music & Art Project<div dir="ltr" style="text-align: left;" trbidi="on">
There are many tales of reinvention in theatre, and Guillermo Figueroa's approach to his artistic career has centered around taking chances and embracing the changes that a career in the arts can encompass. Raised in a family of music lovers, the violin was placed in his hands at the age of five, and the instrument became the catalyst to his lifelong pursuit and love of music.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJlve-lHZz3a8VAWUL_UY8rX-Q5-xXBRul2ZzpQ-1E6ZqxCI5BzK3ZLRCIknFBERw6LyOZgvO1uLLgWLTSK3YNntTKDAVGw2Tn5cGS1CKRCo3yE3mqD41nIhjSM4GmnhsUqKEh8ik6h4Do/s1600/guillermo1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJlve-lHZz3a8VAWUL_UY8rX-Q5-xXBRul2ZzpQ-1E6ZqxCI5BzK3ZLRCIknFBERw6LyOZgvO1uLLgWLTSK3YNntTKDAVGw2Tn5cGS1CKRCo3yE3mqD41nIhjSM4GmnhsUqKEh8ik6h4Do/s320/guillermo1.jpg" width="320" /></a></div>
As a third generation musician in his family, Figueroa's musical studies began with his father and uncle at the Conservatory of Music of Puerto Rico and continued later at Julliard, here in the United States. A renowned violinist, he went on to perform with the Orpheus Chamber Orchestra in New York City, and many more companies as a guest musician. Figueroa was concertmaster of the New York City Ballet for a decade, performing with the ballet company, and even collaborated with ballet master Peter Martins to have a piece made with him onstage, playing the violin, alongside a piano, and two dancers performing.<br />
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His inspirational approach to music has brought forth more than dance pieces, but four concertos with orchestra written for him, which Figueroa performed the world premieres of, and many smaller works which have been composed for him also. After playing a Berlioz opera in Carnegie Hall, Figueroa became fanatical for the composer's work, confessing he absorbs as much of Berlioz's music as possible in his off hours, and even went so far as to organize a Berlioz Festival, commemorating the 2003 bicentennial of the birth of the composer here in Albuquerque, featuring lecturers, poets, painters and, of course, musicians, to commemorate the event.<br />
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<a href="http://www.spreaker.com/user/4723351/spotlight-guillermo-figueroa" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfU6Cf5le5XIFMzgc8WpiY7OwXysQjE_RL1ypQhkvsY-6jNeEnrzcIeMrUvZ6R8f9wODM7SWD47zWXQlBZm2pA68hkg-x6gYTkulej1zBiHj2uBuS7_90yFgL5bid5qT33Ex-0xZmGCkpA/s1600/tinypodcast.jpg" /></a><b><i><a href="http://www.spreaker.com/user/4723351/spotlight-guillermo-figueroa" target="_blank"> Click HERE to listen to Guillermo Figueroa's exclusive #ArtInNM interview</a></i></b></div>
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His work as a conductor and guest conductor have allowed him to collaborate with some amazing artists, such as Itzhak Perlman, YoYo Ma, and Placido Domingo, to name only a few. Collaborating with Ernesto Cordero once again, Figueroa recorded Cordero's concertos for the Naxos label, earning him a Latin Grammy nomination in 2012. When asked how these profound experiences affect his own art, Figueroa insists that by finding ways to combine artists and their various artistic expressions, whether by graphic arts, music, or dance, the audience benefits the most.<br />
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Never one to slow down, Figueroa worked as the music director of the Puerto Rico Symphony while also acting as the conductor and music director at our own New Mexico Symphony Orchestra, starting in 2002. When the Symphony folded, Figueroa couldn't see letting the momentum go here in New Mexico, and so began the Figueroa Music and Arts Project. Created with the vision of combining music with other art forms, (a <i>forte</i> of his) and bringing excellence in performance quality and artistic focus, the Figueroa Project collaborates regularly with other New Mexico artists and companies to bring performances of the highest caliber for audiences to enjoy.<br />
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<span style="font-size: x-small;">Click above to watch Guillermo Figueroa perform <i>Insula,</i> written for him by Ernesto Cordero</span></div>
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His Diaghilev-like approach has encouraged many in our New Mexico arts community to collaborate and with such masterful combinations onstage, the audience is the true winner. It was just such a collaboration that first brought him here in 2000, when Patricia Dickinson Wells, currently the artistic director of Festival Ballet Albuquerque, asked Figueroa to conduct "The Nutcracker," setting off the chain of events which culminated in his offer to become music director at the New Mexico Symphony.<br />
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Figueroa and Dickinson Wells never stopped their artistic collaboration, with one concert recently concluded (<a href="http://artinnm.blogspot.com/2013/11/the-firebird-tchaikovsky-by-festival.html" target="_blank">"The Firebird and Tchaikovsky"</a>) and another gala event to come. "New Years Eve in Vienna," modeled after the well known Vienna Philharmonic concert broadcasts, feature a lighter fare of music as well as some Hungarian dance pieces, giving the audience their own taste of Vienna. Featuring the dancers of Festival Ballet Albuquerque, the event takes place on December 31st at the National Hispanic Cultural Center at 8 pm. For a additional price, those wishing to make an evening of the concert are invited to stay afterward for the catered reception to raise a glass.<br />
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Looking towards the rest of the 2013-14 season, Figueroa is excited about even more unique combinations of art forms that are in the works. In February, collaborating with the St. Johns Church in downtown Albuquerque, as well as the chorus of St. Johns, an all Baroque program will be presented. And in April, the Figueroa Project will perform a chamber-oriented program, "German masters and the Holocaust, a Theatrical Remembrance." Featuring music of Schubert and Mozart for the first half of the program, the second half will be Marc Neikrug's "Through Roses," featuring the actor John Rubinstein (son of acclaimed pianist Arthur Rubinstein) alongside the music, during a reminiscence of a holocaust camp.<br />
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Knowing resources should be shared, and fostering collaborative efforts among the companies in order to achieve a new and higher expression of art, is what makes Figueroa such a uniquely talented musician and artist. For tickets to the gala, their future concerts, and more information about Guillermo Figueroa and the Figueroa Music and Arts Project, check out their website at <a href="http://www.figueroaproject.org/">www.figueroaproject.org</a>.<br />
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Alissa Hallhttp://www.blogger.com/profile/13905686750780941460noreply@blogger.com0