10 Temmuz 2012 Salı
9 Temmuz 2012 Pazartesi
Where Were You Hiding When The Storm Broke?
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A large branch is on the ground next to the tree.
Last weekend, a big storm passed through the area. Not only did it leave me offline for part of the weekend, but it also felled a couple of trees on the farm. So while I was outside after the storm to take pictures, "Where Were You Hiding When The Storm Broke" by The Alarm was playing in my head. So I thought You might enjoy playing it while checking out those shots.
You can find that song on the 1984 release, Declaration, found on iTunes. It is also a featured track on the 1990 hits collection, Standards, found on Amazon. For more about The Alarm, check out the official website, overseen by lead singer Mike Peters.
Left: A different view of the tree. Right: This willow will weep no more.
What the wind and rain left on the tree.
That same tree, from a different angle.
Yet another tree came down, this one on the paddock fence.
More damage to trees.
Smaller branch pieces gather in Paw-Paw Creek.
A large branch is on the ground next to the tree.
Last weekend, a big storm passed through the area. Not only did it leave me offline for part of the weekend, but it also felled a couple of trees on the farm. So while I was outside after the storm to take pictures, "Where Were You Hiding When The Storm Broke" by The Alarm was playing in my head. So I thought You might enjoy playing it while checking out those shots.
You can find that song on the 1984 release, Declaration, found on iTunes. It is also a featured track on the 1990 hits collection, Standards, found on Amazon. For more about The Alarm, check out the official website, overseen by lead singer Mike Peters.
Left: A different view of the tree. Right: This willow will weep no more.
What the wind and rain left on the tree.
That same tree, from a different angle.
Yet another tree came down, this one on the paddock fence.
More damage to trees.
Smaller branch pieces gather in Paw-Paw Creek.
Name, Race, and Class
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July 3, 2012
Posted by Jay Livingston
The protagonist of Max Shulman’s 1957 novel Rally Round the Flag, Boys is Lt. Guido DiMaggio. He never had andy particular talent for baseball, but practically since he could walk, people were certain that any boy named DiMaggio must have baseball in his blood, so he was encouraged to play and play often. As a result, he turned into a pretty good outfielder.*
Do names make for destiny because of the way people respond to them? Freakonomics (2005) says it ain’t so, Joe. Levitt and Dubner, writing about Black names, conclude that once you control for social class, names make no difference. In the Freakonomist world, teachers, landlords, and employers are like Steven Colbert – they don’t see race.
The problem is that we don’t know whether people are responding to “DeShawn” as a marker of race or marker of class or both.
Now, S. Michael Gaddis has taken a step towards untangling the race and class in names. He finds that some Black names are associated with more education, some with less. The same goes for some distinctively white names. Nearly four out of five Jalens, for example, are Black, but 61% of Jalens have gone to college. Ronny is mostly white and mostly dropout.
Gaddis went job hunting over the Internet using these names. He looked at who was offered an interview and at what salary range. On both outcome variables, race and class both made a difference.
HT: A tweet from Philip Cohen.
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* Readers of the first chapter of Malcolm Gladwell’s Outliers may hear an echo in this story. Gladwell is writing non-fiction about hockey and age; Shulman is writing fiction about baseball and names. But the “culling” effect is similar.
Posted by Jay Livingston
The protagonist of Max Shulman’s 1957 novel Rally Round the Flag, Boys is Lt. Guido DiMaggio. He never had andy particular talent for baseball, but practically since he could walk, people were certain that any boy named DiMaggio must have baseball in his blood, so he was encouraged to play and play often. As a result, he turned into a pretty good outfielder.*
Do names make for destiny because of the way people respond to them? Freakonomics (2005) says it ain’t so, Joe. Levitt and Dubner, writing about Black names, conclude that once you control for social class, names make no difference. In the Freakonomist world, teachers, landlords, and employers are like Steven Colbert – they don’t see race.
On average, a person with a distinctively black name . . .does have a worse life outcome . . . . But it isn't the fault of his or her name. . . . The kind of parents who name their son Jake don't tend to live in the same neighborhoods or share economic circumstances with the kind of parents who name their son DeShawn. And that's why, on average, a boy named Jake will tend to earn more money and get more education than a boy named DeShawn. DeShawn's name is an indicator–but not a cause–of his life path.I was skeptical about this when I read it years ago. What about all those field tests for civil rights groups? What about those black college grads who finally wise up and send out their resumes as D. William Green after DeShawn W. Green gets nothing but rejections?
The problem is that we don’t know whether people are responding to “DeShawn” as a marker of race or marker of class or both.
Now, S. Michael Gaddis has taken a step towards untangling the race and class in names. He finds that some Black names are associated with more education, some with less. The same goes for some distinctively white names. Nearly four out of five Jalens, for example, are Black, but 61% of Jalens have gone to college. Ronny is mostly white and mostly dropout.
Gaddis went job hunting over the Internet using these names. He looked at who was offered an interview and at what salary range. On both outcome variables, race and class both made a difference.
Moreover, the race- and class- based penalties compound for low-SES black males. In other words, Jalen and DaQuan are both disadvantaged on the job market compared to Caleb and Ronny, but DaQuan is by far the most severely disadvantaged. Worse yet: the situation between white and black candidates does not change whether they are graduates from less selective schools like UMass and UC Riverside or highly selective schools like Harvard and Stanford.Gaddis has a brief write-up of his research here.
HT: A tweet from Philip Cohen.
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* Readers of the first chapter of Malcolm Gladwell’s Outliers may hear an echo in this story. Gladwell is writing non-fiction about hockey and age; Shulman is writing fiction about baseball and names. But the “culling” effect is similar.
The Flag
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July 4, 2012
Posted by Jay Livingston
Five years ago, Pew Research did a survey on patriotism. The study was released with this title:
As Pew says, “Notably, significantly more Northeasterners and Midwesterners fly the flag than do residents of the South or the West.”
Not to get to Clintonesque here, but maybe it depends on what “the flag” means. People in the South are in fact more likely to display a national flag. But the flag these patriots display is not the one in the picture above, the flag of the USA. It is the flag of a country that fought a war against the USA – a war that killed a greater proportion of the population of the USA than has any other war in our history. (Even the absolute number of USA dead and wounded is second only to World War II.)
UPDATE: A 2011 Pew survey found that 8% of the total sample said they displayed the Confederate flag. If we assume that all these were in the South and add them to the 58% of Southerners in the 2007 survey who said they displayed “the flag,” the South still trails the Northeast in flagwaving, though the 3-point difference is within the margin of error. (HT: @ConradHackett)
Posted by Jay Livingston
Five years ago, Pew Research did a survey on patriotism. The study was released with this title:
Who Flies the Flag? Not Always Who You Might ThinkPew asked people if they displayed the flag at home, at work, or on their cars. Most of the demographic breakdowns were what you and Pew would expect. Flag flying was more common among Whites, males, and Republicans. Apparently what surprised Pew (or its headline writer) was the regional breakdown.
A Closer Look at Patriotism
As Pew says, “Notably, significantly more Northeasterners and Midwesterners fly the flag than do residents of the South or the West.”
Not to get to Clintonesque here, but maybe it depends on what “the flag” means. People in the South are in fact more likely to display a national flag. But the flag these patriots display is not the one in the picture above, the flag of the USA. It is the flag of a country that fought a war against the USA – a war that killed a greater proportion of the population of the USA than has any other war in our history. (Even the absolute number of USA dead and wounded is second only to World War II.)
UPDATE: A 2011 Pew survey found that 8% of the total sample said they displayed the Confederate flag. If we assume that all these were in the South and add them to the 58% of Southerners in the 2007 survey who said they displayed “the flag,” the South still trails the Northeast in flagwaving, though the 3-point difference is within the margin of error. (HT: @ConradHackett)
Surveys and Sequence
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July 8, 2012
Posted by Jay Livingston
Push polls are an extreme example of the problems inherent in surveys, even surveys that are not apparently tendentious. You ask a seemingly straightforward questions, but respondents may not be answering the question you think you asked. That’s why I tend to distrust one-shot surveys with questions that have never been used before. (Earlier posts on this are here and here).
Good surveys also vary the sequence of questions since Question #1 may set the framework a person then uses to think about Question #2.
“Yes, Prime Minister” offers a useful example – exaggerated, but useful in the research methods course nevertheless.
HT: Keith Humphrey
Posted by Jay Livingston
Push polls are an extreme example of the problems inherent in surveys, even surveys that are not apparently tendentious. You ask a seemingly straightforward questions, but respondents may not be answering the question you think you asked. That’s why I tend to distrust one-shot surveys with questions that have never been used before. (Earlier posts on this are here and here).
Good surveys also vary the sequence of questions since Question #1 may set the framework a person then uses to think about Question #2.
“Yes, Prime Minister” offers a useful example – exaggerated, but useful in the research methods course nevertheless.
HT: Keith Humphrey
Brooks v. Brooks (Self-control v. Rambunctious)
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July 9, 2012
Posted by Jay Livingston
David Brooks is the New York Times’s conservative columnist, the guy who extols social skills and the ability of people to work within institutions, the guy who disdains efforts to change institutions and insists that change is personal – a matter of character. David Brooks is the guy who sees “The Book of Mormon” and unlike the Times’s theater critic (“blasphemous, scurrilous and more foul-mouthed than David Mamet on a blue streak”) finds a parable of character and self-control:
Posted by Jay Livingston
David Brooks is the New York Times’s conservative columnist, the guy who extols social skills and the ability of people to work within institutions, the guy who disdains efforts to change institutions and insists that change is personal – a matter of character. David Brooks is the guy who sees “The Book of Mormon” and unlike the Times’s theater critic (“blasphemous, scurrilous and more foul-mouthed than David Mamet on a blue streak”) finds a parable of character and self-control:
Rigorous codes of conduct allow people to build their character. Changes in behavior change the mind, so small acts of ritual reinforce networks in the brain. A Mormon denying herself coffee may seem like a silly thing, but regular acts of discipline can lay the foundation for extraordinary acts of self-control when it counts the most.“The Book of Mormon” was then (April of last year). “Henry V” is now. Give it up for rambunctiousness.
Henry V is one of Shakespeare's most appealing characters. He was rambunctious when young and courageous when older.How did Hal become so appealing and courageous? Not through self-control taught by church or school, says Brooks. Those confining institutions are the bad guys. They don’t know how “to educate a fiercely rambunctious” kid.
But the big story here is cultural and moral. If schools want to re-engage Henry, they can't pretend they can turn him into a reflective Hamlet just by feeding him his meds and hoping he'll sit quietly at story time.That stuff about people changing themselves – self-control to work within institutions – that was so 2011 Brooks.
Schools have to engage people as they are. . . not just teachers who celebrate cooperation, but other teachers who celebrate competition; not just teachers who honor environmental virtues, but teachers who honor military virtues; not just curriculums that teach how to share, but curriculums that teach how to win and how to lose; not just programs that work like friendship circles, but programs that work like boot camp.I’m not sure which part of Brooks’s column is more fatuous. That paean to boot camp (see Charles Pierce’s commentary here ) is pretty good. But Brooks also implies that the gender imbalance in disciplinary problems in schools (mostly boys) is recent:
Boys are much more likely to have discipline problems. An article as far back as 2004 in the magazine Educational Leadership found that boys accounted for nearly three-quarters of the D's and F's.That “far back” date conveniently puts it in the contemporary era. Was this imbalance any different in 1894? In some ways, schools haven’t really changed all that much. The first lesson kids have to learn is still the same: sit still.
8 Temmuz 2012 Pazar
Treasured Stories by Eric Carle
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Mermaid Theatre’s production of Treasured Stories by Eric Carle brings together old favorites and new friends. Featuring evocative music, stunning visual effects and innovative puppetry, the triple-bill celebrates three of Eric Carle’s most beloved tales.
A veteran of more than 2200 performances, The Very Hungry Caterpillar joins a whimsical menagerie, drawn from the pages of Brown Bear, Brown Bear, What Do You See?. The poignant story of a young girl’s unusual quest, Papa, Please Get the Moon For Me, completes a fanciful production, that is guaranteed to entertain and educate a new generation of young theatergoers.
Eric Carle’s classic The Very Hungry Caterpillar follows the wonderful adventures of a very tiny and hungry caterpillar, as he progresses through an amazing variety of foods, towards his eventual metamorphosis into a beautiful butterfly.
First published in 1967, Brown Bear, Brown Bear, What Do You See? was written and illustrated by Bill Martin, Jr. and Eric Carle and has served to help countless toddlers learn to associate colors and meaning to objects. Capturing the rhythmic text and beautiful tissue-paper collage illustrations of the classic picture book, Mermaid’s adaptation generates fresh appreciation for the endearing cast of characters.
Regarded as one of Eric Carle’s most imaginatively-designed works, Papa, Please Get the Moon For Me has been delighting young audiences since its publication in 1986. Mermaid’s production mirrors the book’s stunning illustrations, drawn in thick brilliant brushstrokes of blue and greens and dazzling reds. An unusual quest for a unique plaything - the moon - offers a splendid introduction to the wonderment of the lunar cycle.
Audiences familiar with Mermaid’s earlier adaptations of Eric Carle’s books will find the same attention to detail that has won international acclaim for the company. The use of “black light” for some aspects of the show, enable puppets and props to make their appearances, as if they are animated on their own. The final story in the trilogy will incorporate the magic of both projection techniques and shadow puppetry.
Treasured Stories by Eric Carle will be presented live at The Orpheum Theatre Friday, February 24 at 6PM. Click here for tickets!
Mermaid Theatre’s production of Treasured Stories by Eric Carle brings together old favorites and new friends. Featuring evocative music, stunning visual effects and innovative puppetry, the triple-bill celebrates three of Eric Carle’s most beloved tales.A veteran of more than 2200 performances, The Very Hungry Caterpillar joins a whimsical menagerie, drawn from the pages of Brown Bear, Brown Bear, What Do You See?. The poignant story of a young girl’s unusual quest, Papa, Please Get the Moon For Me, completes a fanciful production, that is guaranteed to entertain and educate a new generation of young theatergoers.
Eric Carle’s classic The Very Hungry Caterpillar follows the wonderful adventures of a very tiny and hungry caterpillar, as he progresses through an amazing variety of foods, towards his eventual metamorphosis into a beautiful butterfly.
First published in 1967, Brown Bear, Brown Bear, What Do You See? was written and illustrated by Bill Martin, Jr. and Eric Carle and has served to help countless toddlers learn to associate colors and meaning to objects. Capturing the rhythmic text and beautiful tissue-paper collage illustrations of the classic picture book, Mermaid’s adaptation generates fresh appreciation for the endearing cast of characters.
Regarded as one of Eric Carle’s most imaginatively-designed works, Papa, Please Get the Moon For Me has been delighting young audiences since its publication in 1986. Mermaid’s production mirrors the book’s stunning illustrations, drawn in thick brilliant brushstrokes of blue and greens and dazzling reds. An unusual quest for a unique plaything - the moon - offers a splendid introduction to the wonderment of the lunar cycle.Audiences familiar with Mermaid’s earlier adaptations of Eric Carle’s books will find the same attention to detail that has won international acclaim for the company. The use of “black light” for some aspects of the show, enable puppets and props to make their appearances, as if they are animated on their own. The final story in the trilogy will incorporate the magic of both projection techniques and shadow puppetry.
Treasured Stories by Eric Carle will be presented live at The Orpheum Theatre Friday, February 24 at 6PM. Click here for tickets!
Review of La Cage Aux Folles by Rebecca S.
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As a longtime fan of the movie The Birdcage, I was eagerly anticipating attending the live musical on which it was based. And I was pleasantly treated with a fun and energetic version of La Cage! Lively is a very fitting word for this show, from the upbeat and athletic dance numbers to the simple yet funny dialogue between the characters. The story takes place in a gay nightclub, run by the owner and his male partner, the star of the floor show. When their heterosexual son returns home to announce his engagement to the daughter of an extremely traditional politician, the antics, emotions, and songs ensue!
George Hamilton commands the stage with his quiet, yet confident, presence. While there is no denying it is the tan man himself, he plays the "straight" lead (no pun intended!) to the best of his abilities, giving us a Georges who is kind and caring. However, it is Christopher Sieber's turn as Albin that really brought the show to life. Vaguely familiar from years of television, Sieber brings the star power without lingering memories of former characters. This really allowed him to bring Albin's powerhouse alter ego, Zaza, to life. His comedic timing, singing voice, and perfect flamboyant mannerisms stole the spotlight every time he walked on stage.
Some of my favorite scenes took place at La Cage Aux Folles itself. The chorus, a group of 6 transvestite males, brought so much energy and talent to every number. Some of the most athletic dancing I have seen in a show, from full splits over and over to a can can line to hanging on a cage, I was so impressed with the abilities of this group. The rest of the supporting characters were perfectly cast as well- the "butler" was full of bubbly personality, the son brought the right amount of manly touch, and the father-in-law-to-be was gruff and protective. Additionally, the staging and directing really brought the show together, including interactive parts where the cast truly connected with the audience.
For a light hearted, enjoyable evening filled with laughter, head down to the Orpheum for this delightful version of La Cage! I think the only thing you will find that you don't like (particularly ladies) is the men have better legs, and they sure do show them off! One last warning- beware flying beach balls!
George Hamilton commands the stage with his quiet, yet confident, presence. While there is no denying it is the tan man himself, he plays the "straight" lead (no pun intended!) to the best of his abilities, giving us a Georges who is kind and caring. However, it is Christopher Sieber's turn as Albin that really brought the show to life. Vaguely familiar from years of television, Sieber brings the star power without lingering memories of former characters. This really allowed him to bring Albin's powerhouse alter ego, Zaza, to life. His comedic timing, singing voice, and perfect flamboyant mannerisms stole the spotlight every time he walked on stage.
Some of my favorite scenes took place at La Cage Aux Folles itself. The chorus, a group of 6 transvestite males, brought so much energy and talent to every number. Some of the most athletic dancing I have seen in a show, from full splits over and over to a can can line to hanging on a cage, I was so impressed with the abilities of this group. The rest of the supporting characters were perfectly cast as well- the "butler" was full of bubbly personality, the son brought the right amount of manly touch, and the father-in-law-to-be was gruff and protective. Additionally, the staging and directing really brought the show together, including interactive parts where the cast truly connected with the audience.For a light hearted, enjoyable evening filled with laughter, head down to the Orpheum for this delightful version of La Cage! I think the only thing you will find that you don't like (particularly ladies) is the men have better legs, and they sure do show them off! One last warning- beware flying beach balls!
2012-2013 Broadway Season Announcement
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We know you come to The Orpheum to see the highest quality theatrical experiences, so through the generous sponsorship of our friends at Harrah’s Tunica, we’ve put together a delightful mix of new productions and Mid-South favorites.
We kick off the season with BILLY ELLIOT THE MUSICAL, the inspirational and uplifting story of a young boy who follows his dream by trading his boxing gloves for ballet shoes. Next we have CATCH ME IF YOU CAN, the true story of Frank Abagnale Jr. who successfully conned millions of dollars worth of checks as a Pan Am pilot, a doctor, and a legal prosecutor, all before his 19th birthday. The internationally acclaimed extravaganza, BLUE MAN GROUP, along with the dazzling heartwarming Disney classic, MARY POPPINS, and the splendid new production of Cole Porter’s ANYTHING GOES are sure to thrill audiences young and old alike.
The JERSEY BOYS will be working their way back to The Orpheum, along with the show that won our hearts, MEMPHIS. If you’ve already seen these fine productions and prefer not to include one or both in your season package, you may “opt-out”. As an “opt-in”, but for one weekend only, we are bringing you ROCK OF AGES, the rock ‘n’ roll romance told through the heart-pounding hits of Def Leppard, Joan Jett, Journey, Foreigner, Bon Jovi, Night Ranger, REO Speedwagon, Pat Benatar, Poison, Whitesnake, and more.
The support of our season ticket holders helps us bring the best of Broadway entertainment to the Mid-South while enhancing cultural life in our community, and preserving the beautiful Orpheum Theatre for future generations. With these great shows in The Orpheum’s 2012-2013 Broadway Season, and with more benefits than ever before, there’s never been a better time to become a season ticket holder!
On behalf of the Board of Directors, I whole-heartedly thank you for your patronage and support and I look forward to seeing you for another exciting season at The Orpheum!
Pat HalloranPresident & CEO
We know you come to The Orpheum to see the highest quality theatrical experiences, so through the generous sponsorship of our friends at Harrah’s Tunica, we’ve put together a delightful mix of new productions and Mid-South favorites.We kick off the season with BILLY ELLIOT THE MUSICAL, the inspirational and uplifting story of a young boy who follows his dream by trading his boxing gloves for ballet shoes. Next we have CATCH ME IF YOU CAN, the true story of Frank Abagnale Jr. who successfully conned millions of dollars worth of checks as a Pan Am pilot, a doctor, and a legal prosecutor, all before his 19th birthday. The internationally acclaimed extravaganza, BLUE MAN GROUP, along with the dazzling heartwarming Disney classic, MARY POPPINS, and the splendid new production of Cole Porter’s ANYTHING GOES are sure to thrill audiences young and old alike.
The JERSEY BOYS will be working their way back to The Orpheum, along with the show that won our hearts, MEMPHIS. If you’ve already seen these fine productions and prefer not to include one or both in your season package, you may “opt-out”. As an “opt-in”, but for one weekend only, we are bringing you ROCK OF AGES, the rock ‘n’ roll romance told through the heart-pounding hits of Def Leppard, Joan Jett, Journey, Foreigner, Bon Jovi, Night Ranger, REO Speedwagon, Pat Benatar, Poison, Whitesnake, and more.
The support of our season ticket holders helps us bring the best of Broadway entertainment to the Mid-South while enhancing cultural life in our community, and preserving the beautiful Orpheum Theatre for future generations. With these great shows in The Orpheum’s 2012-2013 Broadway Season, and with more benefits than ever before, there’s never been a better time to become a season ticket holder!
On behalf of the Board of Directors, I whole-heartedly thank you for your patronage and support and I look forward to seeing you for another exciting season at The Orpheum!
Pat HalloranPresident & CEO
The 2012 Orpheum Summer Movie Series
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Jam-packed with classic movie hits and cult favorites, The Orpheum's 2012 series of “Cults, Classics and Concerts,” will offer big entertainment at a small price. In addition to award-winning, critically acclaimed classic films, The Orpheum offers pre-show activities such as trivia contests, fashion shows, themed costume contests, vintage film shorts, and even a mini-concert on The Orpheum's own Mighty Wurlitzer Organ before select feature films.Established for those who enjoy the edgy side of independent film, Indie Memphis Cinema Social Club events will be held on four Thursday nights during the summer. Films in the series will begin at 7:30 p.m. Each evening’s film will be preceded by a themed social hour that will include special libations and live music in the lobby of The Orpheum.The series will include four acclaimed features, including Donnie Darko and Pulp Fiction. All tickets will be $7 each at the door. Indie Memphis members will receive a $2 discount with their valid membership card. The price of the ticket includes the social hour which will begin at 6:30 p.m.Tickets for both the Summer Classic Movie Series and the Cinema Social Club are just $7 for adults and $5 for children 12 and under and may be purchased at The Orpheum Theatre Box Office two hours prior to movie start time. Doors open one hour prior to movie start time. A 10-ticket pack is available for $50 in advance at The Orpheum Theatre Box Office or the ticket counter at The Booksellers at Laurelwood and may be used in any combination for any movie in the series. For more information, please call (901) 525-3000.
Jam-packed with classic movie hits and cult favorites, The Orpheum's 2012 series of “Cults, Classics and Concerts,” will offer big entertainment at a small price. In addition to award-winning, critically acclaimed classic films, The Orpheum offers pre-show activities such as trivia contests, fashion shows, themed costume contests, vintage film shorts, and even a mini-concert on The Orpheum's own Mighty Wurlitzer Organ before select feature films.Established for those who enjoy the edgy side of independent film, Indie Memphis Cinema Social Club events will be held on four Thursday nights during the summer. Films in the series will begin at 7:30 p.m. Each evening’s film will be preceded by a themed social hour that will include special libations and live music in the lobby of The Orpheum.The series will include four acclaimed features, including Donnie Darko and Pulp Fiction. All tickets will be $7 each at the door. Indie Memphis members will receive a $2 discount with their valid membership card. The price of the ticket includes the social hour which will begin at 6:30 p.m.Tickets for both the Summer Classic Movie Series and the Cinema Social Club are just $7 for adults and $5 for children 12 and under and may be purchased at The Orpheum Theatre Box Office two hours prior to movie start time. Doors open one hour prior to movie start time. A 10-ticket pack is available for $50 in advance at The Orpheum Theatre Box Office or the ticket counter at The Booksellers at Laurelwood and may be used in any combination for any movie in the series. For more information, please call (901) 525-3000.
Pat's Notes from Broadway
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I just returned from New York where Broadway is the most important street in the city. I saw five productions in four days and was pleasantly surprised that I enjoyed everything I saw. As a TONY award voter they expect us to see everything and without a doubt all that are nominated for an award.
Here are my notes about what I saw recently:
JESUS CHRIST SUPERSTAR – The music is the show and has always great. The story isn’t bad either but it always ends the same way, not good. This production takes on a new high tech staging with a Wall Street ticker tape addition letting you know that you are Jerusalem on Wednesday as the story unfolds and on Thursday you are in the garden of Gethsemane. A novel approach but pushing the point. And all of the bad guys are wearing long black leather coats and are sporting dreadlocks.
PETER AND THE STARCATCHER was the highlight of the five shows. Had no idea what it was about and was blown away by the acting especially that of Christian Borle, from the TV show Smash, was fabulous. Show moved so fast and dialog came at the audience at mach speed. I must see it again.
NEWSIES is a Disney musical and was much better than I thought it would be, since the movie was a flop. I wasn’t expecting much but thought it far exceeded my pre-show bias.
NICE WORK IF YOU CAN GET IT was excellent. Take Gershwin Brothers, insert a funny story with a fabulous female lead, Kelli OHara, add Mathew Broderick and it’s an enjoyable night at the theater.
Last but far from the least was GHOST, the musical adaptation of the movie with Patrick Swayze and Demi Moore. The reviews have not been spectacular but I really enjoyed the show and it's another high tech addition to Broadway. I really liked how they had people appear to walk through walls. The opening scene is a film of a super fast tour over the buildings of Manhattan, sort of like Harry Potter goes for a night out sans the broom.
Going back to NYC on the 31st of May to see what I expect to be the two TONY award shows one for the revival category – EVITA and ONCE for best new musical. I think I’m saving the best for last. We’ll see. More later!
Pat HalloranPresident & CEOThe Orpheum Theatre
Here are my notes about what I saw recently:
JESUS CHRIST SUPERSTAR – The music is the show and has always great. The story isn’t bad either but it always ends the same way, not good. This production takes on a new high tech staging with a Wall Street ticker tape addition letting you know that you are Jerusalem on Wednesday as the story unfolds and on Thursday you are in the garden of Gethsemane. A novel approach but pushing the point. And all of the bad guys are wearing long black leather coats and are sporting dreadlocks.
PETER AND THE STARCATCHER was the highlight of the five shows. Had no idea what it was about and was blown away by the acting especially that of Christian Borle, from the TV show Smash, was fabulous. Show moved so fast and dialog came at the audience at mach speed. I must see it again.NEWSIES is a Disney musical and was much better than I thought it would be, since the movie was a flop. I wasn’t expecting much but thought it far exceeded my pre-show bias.
NICE WORK IF YOU CAN GET IT was excellent. Take Gershwin Brothers, insert a funny story with a fabulous female lead, Kelli OHara, add Mathew Broderick and it’s an enjoyable night at the theater.Last but far from the least was GHOST, the musical adaptation of the movie with Patrick Swayze and Demi Moore. The reviews have not been spectacular but I really enjoyed the show and it's another high tech addition to Broadway. I really liked how they had people appear to walk through walls. The opening scene is a film of a super fast tour over the buildings of Manhattan, sort of like Harry Potter goes for a night out sans the broom.
Going back to NYC on the 31st of May to see what I expect to be the two TONY award shows one for the revival category – EVITA and ONCE for best new musical. I think I’m saving the best for last. We’ll see. More later!
Pat HalloranPresident & CEOThe Orpheum Theatre
7 Temmuz 2012 Cumartesi
Grease
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It was nice to see the Wells Fargo Pavilion filled to near capacity as Music Circus began its 2012 season with a high-octane, high-energy production of “Grease,”directed by Glenn Casale.
This old chestnut by Jim Jacobs and Warren Casey opened on Broadway in 1972 and ran for 3,388 performances at three different theaters. The subsequent movie was a runaway hit for John Travolta and Olivia Newton-John
.
Fortunately, this is a show that is filled with snappy tunes (if not exactly always intelligent lyrics — “shoowop, shoowally, wally, yippity, boom-de-boom, chang-chang, changadee-chang-chibop, that’s the way it should be, wahoo, yeah” — interesting characters, and lively dances that keep the toes tapping and the brain kind of not thinking about the plot of the show.
In these politically correct times, what would be the chance of getting a play produced that dealt with a wholesome young girl falling for what she thinks is a wholesome young man, who turns out to be one of the “greasers” at her school, and ultimately realizing that if she wants to fit in all she has to do is abandon all of her moral values, don a skin-tight outfit and spike heels, pierce her ears, poof up her hair, learn to smoke and drink and start undulating around the guy?
Now she fits in, she has friends, she has a boyfriend and everybody lives happily ever after. It’s a show I really want to hate, but somehow can’t, because it’s so darn much fun.
So I won’t dwell on the plot. I’ll just think about the fun on stage, the performances and the infectious tunes.
Though “Grease” focuses on Danny and Sandy, this is really more of an ensemble show than one would imagine. There are 15 in the cast and each gets his or her turn to shine throughout the evening. There is no denying that it stretches the imagination to think of any of these actors as high school students — but if “Glee” can make it work with 25- to 30-year-old “teenagers,” so can Music Circus.
And make it work they do. Kirsten Scott is sweet and innocent as Sandy and you feel her discomfort when confronted with the hard-edged drinking and smoking “Pink Ladies.” Her “Hopelessly Devoted to You” is a song that was not in the original stage show, but was written by John Farrar for the movie.
Lesli Margherita (Rizzo) could not be more different from Sandy, with a brittle, hard edge to her that hints of a difficult life. And yet, when she thinks she has been “knocked up” by boyfriend Kenickie (Michael D. Jablonski), her vulnerable side shines through when she defiantly belts “There Are Worse Things I Could Do.”
Jablonski has one of the high moments of the show, as he drives onto the stage in his shiny hot rod, “Greased Lightning.”
Melissa WolfKlain made an impression as Jan, one of the Pink Ladies. Her winning smile and perky attitude were difficult to ignore whenever she was on stage.
Brandon Albright has the macho swagger of Danny Zuko, who’s really in love with Sandy, but is a slave to peer pressure. Unable to admit his feelings to his greaser buddies, he treats Sandy like any other good-looking girl in school. When she finally turns up in her sexy outfit, he is able to admit “You’re the One that I Want.”
If one doesn’t think too carefully about the thin plot of this show, or the age of the “teenagers,” and just concentrates on all the elements that make it up, “Grease” is a delightful evening of theater that will send you home humming at least one of its songs.
And that’s the way it should be, wahoo, yeah!
It was nice to see the Wells Fargo Pavilion filled to near capacity as Music Circus began its 2012 season with a high-octane, high-energy production of “Grease,”directed by Glenn Casale.This old chestnut by Jim Jacobs and Warren Casey opened on Broadway in 1972 and ran for 3,388 performances at three different theaters. The subsequent movie was a runaway hit for John Travolta and Olivia Newton-John
.
Fortunately, this is a show that is filled with snappy tunes (if not exactly always intelligent lyrics — “shoowop, shoowally, wally, yippity, boom-de-boom, chang-chang, changadee-chang-chibop, that’s the way it should be, wahoo, yeah” — interesting characters, and lively dances that keep the toes tapping and the brain kind of not thinking about the plot of the show.
In these politically correct times, what would be the chance of getting a play produced that dealt with a wholesome young girl falling for what she thinks is a wholesome young man, who turns out to be one of the “greasers” at her school, and ultimately realizing that if she wants to fit in all she has to do is abandon all of her moral values, don a skin-tight outfit and spike heels, pierce her ears, poof up her hair, learn to smoke and drink and start undulating around the guy?
Now she fits in, she has friends, she has a boyfriend and everybody lives happily ever after. It’s a show I really want to hate, but somehow can’t, because it’s so darn much fun.
So I won’t dwell on the plot. I’ll just think about the fun on stage, the performances and the infectious tunes.
Though “Grease” focuses on Danny and Sandy, this is really more of an ensemble show than one would imagine. There are 15 in the cast and each gets his or her turn to shine throughout the evening. There is no denying that it stretches the imagination to think of any of these actors as high school students — but if “Glee” can make it work with 25- to 30-year-old “teenagers,” so can Music Circus.
And make it work they do. Kirsten Scott is sweet and innocent as Sandy and you feel her discomfort when confronted with the hard-edged drinking and smoking “Pink Ladies.” Her “Hopelessly Devoted to You” is a song that was not in the original stage show, but was written by John Farrar for the movie.
Lesli Margherita (Rizzo) could not be more different from Sandy, with a brittle, hard edge to her that hints of a difficult life. And yet, when she thinks she has been “knocked up” by boyfriend Kenickie (Michael D. Jablonski), her vulnerable side shines through when she defiantly belts “There Are Worse Things I Could Do.”
Jablonski has one of the high moments of the show, as he drives onto the stage in his shiny hot rod, “Greased Lightning.”
Melissa WolfKlain made an impression as Jan, one of the Pink Ladies. Her winning smile and perky attitude were difficult to ignore whenever she was on stage.
Brandon Albright has the macho swagger of Danny Zuko, who’s really in love with Sandy, but is a slave to peer pressure. Unable to admit his feelings to his greaser buddies, he treats Sandy like any other good-looking girl in school. When she finally turns up in her sexy outfit, he is able to admit “You’re the One that I Want.”
If one doesn’t think too carefully about the thin plot of this show, or the age of the “teenagers,” and just concentrates on all the elements that make it up, “Grease” is a delightful evening of theater that will send you home humming at least one of its songs.
And that’s the way it should be, wahoo, yeah!
Review of Mamma Mia! by Holly W.
To contact us Click HERE
I had a real treat when my friend and I decided on a whim to see Mama Mia! this week at the Orpheum. I’ve been to several shows at this downtown landmark, and every experience has been a blast. The historic setting immediately puts me in the mood for “the theatre” and I always feel like I’m having a big night on the town, whether it’s a Broadway musical or a summer evening movie night. Mama Mia! was no exception.
The first thing I noticed about this show was the attitude of the performers. Their energy was infectious, and they were obviously having a great time. This musical is light, fun, and a little campy, and the cast goes over the top to entertain through great songs, dancing, and plenty of humor. There’s usually one character or performer in a show that stands out to me as the scene-stealer, but I can’t pick just one from Mama Mia!
Chloe Tucker, who plays the youthful and charming Sophie, appealed to me immediately. You’ll find out that Sophie is hoping to discover the identity of her father before her upcoming wedding, and the suspense of this narrative carries the show. Her mother is the free-spirited Donna played by Kaye Tuckerman. Her voice along with her dance moves make every song a seamless performance, especially the show’s catchy eponymous tune. Sophie’s three possible fathers are comprised of a British gentleman, a swaggering Aussie author, and an American architect with a quick wit. Donna’s irreverent friends and Sophie’s fiancé and his mischievous pals all provide of range of comedic styles from slapstick to sarcasm that had the multi-generational crowd laughing through the show. From a dream sequence involving scuba gear to a tastefully flirty bachelorette party, the sets and production complemented the tunes perfectly.
A highlight of the show featured Donna and the Dynamos—Donna and her two pals’ reunited singing group from “the old days”. This show-within-a-show element provided a vehicle for some of the crowd’s favorite songs (“Dancing Queen”) and all the sparkly, neon, Spandex costumes you could hope for. After the resolution (I was dying to find out which gentleman was Sophie’s father!) the cast brought us to our feet with a fun finale you’ll have to experience for yourself.
I hadn’t had the opportunity to see the show or the movie before, and I was only familiar with a few of the more popular songs. On the other hand, my friend has seen the show and the movie, and is a huge fan of the entire soundtrack. Since I had no expectations, and she had a lot of expectations, it was great to see how we both enjoyed the show. I would recommend it whether you’re a longtime ABBA fan or just are in the mood for something bright and uplifting. By the end, we were both tapping our feet and clapping along with the rest of crowd. The ensemble’s energy was relentless to the last bow, and I left the Orphem happy and humming. If you’re looking for something that will leave you in a fantastic mood, go see Mama Mia!
The first thing I noticed about this show was the attitude of the performers. Their energy was infectious, and they were obviously having a great time. This musical is light, fun, and a little campy, and the cast goes over the top to entertain through great songs, dancing, and plenty of humor. There’s usually one character or performer in a show that stands out to me as the scene-stealer, but I can’t pick just one from Mama Mia!
Chloe Tucker, who plays the youthful and charming Sophie, appealed to me immediately. You’ll find out that Sophie is hoping to discover the identity of her father before her upcoming wedding, and the suspense of this narrative carries the show. Her mother is the free-spirited Donna played by Kaye Tuckerman. Her voice along with her dance moves make every song a seamless performance, especially the show’s catchy eponymous tune. Sophie’s three possible fathers are comprised of a British gentleman, a swaggering Aussie author, and an American architect with a quick wit. Donna’s irreverent friends and Sophie’s fiancé and his mischievous pals all provide of range of comedic styles from slapstick to sarcasm that had the multi-generational crowd laughing through the show. From a dream sequence involving scuba gear to a tastefully flirty bachelorette party, the sets and production complemented the tunes perfectly.A highlight of the show featured Donna and the Dynamos—Donna and her two pals’ reunited singing group from “the old days”. This show-within-a-show element provided a vehicle for some of the crowd’s favorite songs (“Dancing Queen”) and all the sparkly, neon, Spandex costumes you could hope for. After the resolution (I was dying to find out which gentleman was Sophie’s father!) the cast brought us to our feet with a fun finale you’ll have to experience for yourself.
I hadn’t had the opportunity to see the show or the movie before, and I was only familiar with a few of the more popular songs. On the other hand, my friend has seen the show and the movie, and is a huge fan of the entire soundtrack. Since I had no expectations, and she had a lot of expectations, it was great to see how we both enjoyed the show. I would recommend it whether you’re a longtime ABBA fan or just are in the mood for something bright and uplifting. By the end, we were both tapping our feet and clapping along with the rest of crowd. The ensemble’s energy was relentless to the last bow, and I left the Orphem happy and humming. If you’re looking for something that will leave you in a fantastic mood, go see Mama Mia!
NEWS: Deer Valley Music Festival presents annual Broadway, 1812 Overture performances
To contact us Click HERE
Media Contact:
PARK CITY, UTAH – The 2012 Deer Valley® Music Festival will celebrate its third week of Park City concerts featuring the anticipated “1812 Overture” with traditional finale cannon-fire, as well as a program of Broadway rock tunes.
The Utah Symphony will perform a lineup of classical favorites with Children’s Dance Theater and Tchaikovsky’s “1812 Overture” with live cannons from The Cannoneers of the Wasatch Friday, July 27 at 7:30 p.m., an annual Festival tradition led this year by Vladimir Kulenovic for the first time as Associate Conductor.
Then, Utah Symphony Principal Pops Conductor Jerry Steichen will lead the Utah Symphony and guest Broadway stars in performances of modern hits that rocked the Great White Way Saturday, July 28 at 7:30 p.m., with showtunes from Rent, Mamma Mia, Phantom of the Opera, Dreamgirls and The Lion King.
Both Friday and Saturday performances will be held at the Deer Valley Snow Park Outdoor Amphitheater (2250 Deer Valley Drive South).
Preceding these weekend events, the Festival’s Chamber Orchestra Series will continue at St. Mary’s Church (1505 White Pine Canyon Road) with a night of symphonic music written solely by French composers in “The French Connection,” Wednesday, July 25 at 8 p.m., featuring Utah Symphony Associate Conductor Vladimir Kulenovic and select members of the Utah Symphony.
Tickets for Deer Valley® Music Festival events can be purchased by phone at (801) 533-NOTE (6683), in person at the Abravanel Hall ticket office, or online by visiting www.utahsymphony.org/tickets. Discounted general admission tickets are available for students with a valid student ID for many performances. Tickets are also available at Deer Valley® Signature stores (please call (435) 649-1000 for store hours). Ticket prices will increase by $5 when purchased on day of performance.
TICKET PRICE BREAKDOWN BY PERFORMANCE:
Maximum chair height at the venue is nine inches from the ground. Please call the USUO ticket office in advance for limited wheelchair or other accessible seating: (801) 533-NOTE (6683). Gates will open to all ticket holders approximately two hours before the performance begins. Patrons must be present to save a spot in line, and unattended items will be removed from their locations. Valid picture ID is required to pick up tickets at will call. No ticket reprinting is available for general admission seating. Outside food and drinks are allowed at the venue, and there are a variety of concession services at the venue offered by Deer Valley Resort.
Press photos available by logging in at: http://www.deervalleymusicfestival.org/press-room/itemlist/category/13-media-kit#content (username: usuoimages, password: summerfun).
PROGRAM INFORMATION:
The French Connection
Gabriel-Urbain Fauré Pavane, Opus 50
INTERMISSION
1812 Overture!
Broadway Rocks!
INTERMISSION
Queen “Bohemian Rhapsody”
ABOUT THE DEER VALLEY® MUSIC FESTIVAL:
Media Contact:
PARK CITY, UTAH – The 2012 Deer Valley® Music Festival will celebrate its third week of Park City concerts featuring the anticipated “1812 Overture” with traditional finale cannon-fire, as well as a program of Broadway rock tunes.
The Utah Symphony will perform a lineup of classical favorites with Children’s Dance Theater and Tchaikovsky’s “1812 Overture” with live cannons from The Cannoneers of the Wasatch Friday, July 27 at 7:30 p.m., an annual Festival tradition led this year by Vladimir Kulenovic for the first time as Associate Conductor.
Then, Utah Symphony Principal Pops Conductor Jerry Steichen will lead the Utah Symphony and guest Broadway stars in performances of modern hits that rocked the Great White Way Saturday, July 28 at 7:30 p.m., with showtunes from Rent, Mamma Mia, Phantom of the Opera, Dreamgirls and The Lion King.
Both Friday and Saturday performances will be held at the Deer Valley Snow Park Outdoor Amphitheater (2250 Deer Valley Drive South).
Preceding these weekend events, the Festival’s Chamber Orchestra Series will continue at St. Mary’s Church (1505 White Pine Canyon Road) with a night of symphonic music written solely by French composers in “The French Connection,” Wednesday, July 25 at 8 p.m., featuring Utah Symphony Associate Conductor Vladimir Kulenovic and select members of the Utah Symphony.
Tickets for Deer Valley® Music Festival events can be purchased by phone at (801) 533-NOTE (6683), in person at the Abravanel Hall ticket office, or online by visiting www.utahsymphony.org/tickets. Discounted general admission tickets are available for students with a valid student ID for many performances. Tickets are also available at Deer Valley® Signature stores (please call (435) 649-1000 for store hours). Ticket prices will increase by $5 when purchased on day of performance.
TICKET PRICE BREAKDOWN BY PERFORMANCE:
Maximum chair height at the venue is nine inches from the ground. Please call the USUO ticket office in advance for limited wheelchair or other accessible seating: (801) 533-NOTE (6683). Gates will open to all ticket holders approximately two hours before the performance begins. Patrons must be present to save a spot in line, and unattended items will be removed from their locations. Valid picture ID is required to pick up tickets at will call. No ticket reprinting is available for general admission seating. Outside food and drinks are allowed at the venue, and there are a variety of concession services at the venue offered by Deer Valley Resort.
Press photos available by logging in at: http://www.deervalleymusicfestival.org/press-room/itemlist/category/13-media-kit#content (username: usuoimages, password: summerfun).
PROGRAM INFORMATION:
The French Connection
Gabriel-Urbain Fauré Pavane, Opus 50
INTERMISSION
1812 Overture!
| Franz Joseph Haydn | Symphony No. 83 in G minor, "La Poule" |
| Modest Mussorgsky | Ballet of the Unhatched Chicks from Pictures at an Exhibition |
| Nikolai Rimsky-Korsakov | "Flight of the Bumblebee" from The Tale of Tsar Saltan, Op. 57 |
| Igor Stravinsky | Suite from The Firebird (1919 revision) |
| Leroy Anderson | The Waltzing Cat |
| Gioachino Rossini | Allegro Vivace from Overture to William Tell |
| Camille Saint-Saëns | Le Carnival des animaux |
INTERMISSION | |
| John Williams | Olympic Fanfare and Theme (1984 Los Angeles Olympics) |
| Piotr Ilyich Tchaikovsky | Polonaise from Eugene Onegin |
| Nikolai Rimsky-Korsakov | Cappriccio Espagnol, Opus 34 |
| Piotr Ilyich Tchaikovsky | "1812”, Ouverture Solonnelle, Opus 49 |
Broadway Rocks!
INTERMISSION
Queen “Bohemian Rhapsody”
ABOUT THE DEER VALLEY® MUSIC FESTIVAL:
NEWS: 9-14 July WSU International Solo / Chamber Music Camp 2012 and performances
To contact us Click HERE
WHO: Weber State University Department of Performing Arts
WHAT: WSU International Solo / Chamber Music Camp 2012
WHEN: 9-14 July 2012
Faculty Recital, 7:30 pm, Thursday, 12 July, in the Garrison Choral Room, BC136
Student Solo Recital, 7:30 pm, Friday, 13 July, in the Garrison Choral Room, BC136
Chamber Recital, 7:30 pm, Saturday, 14 July in the Allred Theater
WHERE: WSU Val A. Browning Center for the Performing Arts
Weber State University Department of Performing Arts presents the WSU International Solo / Chamber Music Camp 2012, Monday through Saturday, 9-14 July 2012 for Violin, Viola, Cello, and Piano students age 11-26. Three concerts are scheduled that are free and open to the public. Children 8 and older are welcome to attend.
This music camp is a biennial offering of Department of Performing Arts faculty and guest artists. Every student is given the opportunity to take lessons and be coached by internationally renowned faculty. There are daily rehearsals, practice, master classes, and scheduled solo and chamber recitals by students and faculty. Excursion trips are available to National Parks and Utah’s renowned ski resort Park City before and after the camp. Detailed information about the music camp can be found at http://www.weber.edu/musiccamp
Faculty Recital, 7:30 pm, Thursday, 12 July, in the Garrison Choral Room, BC136
Performing faculty and staff performing in the recital includes Rudolph Kremer, Violin / Viola; Fan-Ya Lin, Staff Accompanist; Joseph Rodgers, Cello / String Bass / Conducting; Viktor Uzur, Cello; Ralph Van der Beek, Piano; Shi-Hwa Wang, Violin / Viola; and Yu-Jane Yang, Piano. Detailed bios of these artists can be seen in the camp site:http://www.weber.edu/musiccamp/Faculty.html. Repertoire includes:
Tchaikovsky Piano Trio in A Minor
Shi-Hwa Wang, violin
Joseph Rodgers, cello
Yu-Jane Yang, piano
Schumann Piano Quartet in E Flat Major, Op. 47
Rudy Kremer, violin
Shi-Hwa Wang, viola
Joseph Rodgers, cello
Fan-Ya Lin, piano
Duet for Violin and Cello
Rudy Kremer, violin
Joseph Rodgers, cello
John Williams “Fiddler On The Roof”, “Tango”
Shi-Hwa Wang, violin
Yu-Jane Yang, piano
Student Solo Recital, 7:30 pm, Friday, 13 July, in the Garrison Choral Room, BC136
The program will feature the outstanding soloist from the summer camp
Chamber Recital, 7:30 pm, Saturday, 14 July in the Allred Theater
The program will feature all the students playing in various chamber music groups. The program will include:
Shostakovich Piano Trio; Rachmaninoff Piano Trio; Mozart Piano Quartet; Beethoven Piano Trio; Dvorak Piano Quintet; Mozart Piano Trio; and Haydn Piano Trio.
For more information about the WSU InternationalSolo/Chamber Music Camp, contact
Shi-Hwa Wang, swang@weber.edu.
Viktor Uzur, viktoruzur@weber.edu
Sharon Datuin, camp manager, sharongatrell@weber.edu
WHAT: WSU International Solo / Chamber Music Camp 2012
WHEN: 9-14 July 2012
Faculty Recital, 7:30 pm, Thursday, 12 July, in the Garrison Choral Room, BC136
Student Solo Recital, 7:30 pm, Friday, 13 July, in the Garrison Choral Room, BC136
Chamber Recital, 7:30 pm, Saturday, 14 July in the Allred Theater
WHERE: WSU Val A. Browning Center for the Performing Arts
Weber State University Department of Performing Arts presents the WSU International Solo / Chamber Music Camp 2012, Monday through Saturday, 9-14 July 2012 for Violin, Viola, Cello, and Piano students age 11-26. Three concerts are scheduled that are free and open to the public. Children 8 and older are welcome to attend.
This music camp is a biennial offering of Department of Performing Arts faculty and guest artists. Every student is given the opportunity to take lessons and be coached by internationally renowned faculty. There are daily rehearsals, practice, master classes, and scheduled solo and chamber recitals by students and faculty. Excursion trips are available to National Parks and Utah’s renowned ski resort Park City before and after the camp. Detailed information about the music camp can be found at http://www.weber.edu/musiccamp
Faculty Recital, 7:30 pm, Thursday, 12 July, in the Garrison Choral Room, BC136
Performing faculty and staff performing in the recital includes Rudolph Kremer, Violin / Viola; Fan-Ya Lin, Staff Accompanist; Joseph Rodgers, Cello / String Bass / Conducting; Viktor Uzur, Cello; Ralph Van der Beek, Piano; Shi-Hwa Wang, Violin / Viola; and Yu-Jane Yang, Piano. Detailed bios of these artists can be seen in the camp site:http://www.weber.edu/musiccamp/Faculty.html. Repertoire includes:
Tchaikovsky Piano Trio in A Minor
Shi-Hwa Wang, violin
Joseph Rodgers, cello
Yu-Jane Yang, piano
Schumann Piano Quartet in E Flat Major, Op. 47
Rudy Kremer, violin
Shi-Hwa Wang, viola
Joseph Rodgers, cello
Fan-Ya Lin, piano
Duet for Violin and Cello
Rudy Kremer, violin
Joseph Rodgers, cello
John Williams “Fiddler On The Roof”, “Tango”
Shi-Hwa Wang, violin
Yu-Jane Yang, piano
Student Solo Recital, 7:30 pm, Friday, 13 July, in the Garrison Choral Room, BC136
The program will feature the outstanding soloist from the summer camp
Chamber Recital, 7:30 pm, Saturday, 14 July in the Allred Theater
The program will feature all the students playing in various chamber music groups. The program will include:
Shostakovich Piano Trio; Rachmaninoff Piano Trio; Mozart Piano Quartet; Beethoven Piano Trio; Dvorak Piano Quintet; Mozart Piano Trio; and Haydn Piano Trio.
For more information about the WSU InternationalSolo/Chamber Music Camp, contact
Shi-Hwa Wang, swang@weber.edu.
Viktor Uzur, viktoruzur@weber.edu
Sharon Datuin, camp manager, sharongatrell@weber.edu
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