Classical, Jazz,
Imani Winds is a breath of fresh air
The New York City woodwind quintet Imani Winds was featured on the UMKC Conservatory's Signature Series this past Saturday night. With a variety of styles of music all from living composers, the program was a veritable contemporary delight. The musicians were personable and lighthearted, relaying humorous anecdotes and introductions to the works which eased the common stuffy atmosphere of "serious" concerts. It was also enjoyable to watch how much genuine fun they were having on stage playing together and presenting this music.
The very definition of "short and sweet," Red Clay and Mississippi Delta, composed by flutist Valerie Coleman, was rooted in southern soul and an excellent opening piece for the evening. The work was tailored perfectly to the ensemble: exhibiting the nimble playing of all the players through sprightly, flowing passages and featuring jazzy solos for clarinetist Mariam Adam and bassoonist Monica Ellis. It even introduced the easy-going attitude of the group, with a section where they engaged the whole audience in snapping their fingers in time with the music.
Another short and pleasant work, Danza de Mediodia by Arturo Márquez included lively syncopated dance rhythms and lyrical, seductive melodies for all the instruments, with particularly expressive solos played by substitute oboist James Roe and French horn player Jeff Scott. The tempo shifts were superbly controlled and the players were well-balanced with spotless intonation.
The programmatic Five Poems by Karel Husa was one of the stronger pieces on the program. Each part was idiomatic and executed well. The first movement's strong accents and active upward-sweeping lines suggested images of birds pecking and scattering around and displayed the group's skillful rhythmic control. Lively cawing was clearly depicted in the clarinet part of the second movement, and the horn's focused, melancholy solo over dissonant sustained chords aptly represented the third movement's title, "...With a Dead Bird". The flute had a small solo in the fourth movement, "Fighting Birds", but it was overshadowed by the action in the other parts such as fast runs and tremolos. Despite a few ever so slightly iffy entrances in the final movement, "Bird Flying High Above", the group moved from one rich complex harmony to another, reaching the high register together at the end.
Easily the best composition of the night, Imani Winds performed the contemporary woodwind quintet standard Woodwind Quintet (1948) by living master Elliot Carter with accuracy and emotion. Both movements contain interconnected contrasting musical elements, making each instrument's part and the piece as a whole harmonically and melodically compelling, playful, and complicated all at once. It is utterly complete: removing one instrument would diminish the work's effectiveness and depth as each part enhances all the others. This work showcased the rapport and impeccable communication among the musicians.
The first movement of Miguel del Aguila's Wind Quintet No. 2, "Back in Time," began with an andante folk-like melody played by the flute and hummed in unison by the rest of the musicians. The movement's basic yet lovely tune, serene mood, and major tonal center evoked nostalgic feelings for simpler times: a similar effect Norman Rockwell paintings perhaps achieve. The rest of the movements did not live up to the expectations set by the first movement. Including some interesting techniques in theory, such as playing without mouthpieces, percussive use of the instruments, playing from off-stage, and dimming the lights, the results were less effective and felt gimmicky. Musically the movements were unrelated and some were a bit too blatantly programmatic. This is no fault of the ensemble however: they played the work with the same expertise, enthusiasm and sensitivity shown during the entire concert.
Imani Winds' perfect blend of their individual personalities, accomplishments, and sheer talent make them a very solid and charming group. It was wonderful to see a traditional chamber ensemble express such encouragement and exuberance for new music. I look forward to hearing the results of their commissioning projects in the future, which no doubt will be masterfully played.
REVIEW:
UMKC Conservatory of Music and Dance: Signature Series
Imani Winds
Saturday, March 27, 2010
White Recital Hall
James C. Olson Performing Arts Center
4949 Cherry Street, Kansas City, MO
www.conservatory.umkc.edu
Top Photo by Chris Carroll.
KC Events this week and beyond
Click here to see all the events on the KC Events performing arts calendar.
How do you list your events on KC Events? It is easy!!
As an arts organziation or musician, you can add and edit your own events.
KCMetropolis.org's mission is to promote traditional and independent classical music, dance, theatre and independent film. We are very sorry, but we do not cover pop, rock, Christian or country music; we do not cover the visual arts or non-performing arts community events. If you would like to send a press release about an upcoming performing arts event, please send to press@KCMetropolis.org.
KC Events Categories are:
Traditional & New Classical Music
Dance
Theatre
Jazz
KCMetropolis.org builds assignments for reviews, previews and interviews exclusively from KC Events. Please make sure your events are listed inorder to be considered.
To Submit Information:
- Please go to the KCM front page and click on the login tab located at the top right-hand side of the website.
- Create a login account and then sign-in.
- Read the KC Events Terms of Service before proceeding
- On the left-hand nav is a category called Submit Content
- Click on Submit an Event or Manage Your Events.
- Listings will be approved with 48 hours if it fits the KCMetropolis.org criteria.
KC Events this week and beyond
Check out all the events on the KC Events performing arts calendar.
How do you list your events on KC Events? It is easy!!
As an arts organziation or musician, you can add and edit your own events.
KCMetropolis.org's mission is to promote traditional and independent classical music, dance, theatre and independent film. We are very sorry, but we do not cover pop, rock, Christian or country music; we do not cover the visual arts or non-performing arts community events. If you would like to send a press release about an upcoming performing arts event, please send to press@KCMetropolis.org.
KC Events Categories are:
Traditional & New Classical Music
Dance
Theatre
Jazz
KCMetropolis.org builds assignments for reviews, previews and interviews exclusively from KC Events. Please make sure your events are listed.
To Submit Information:
- Please go to the KCM front page and click on the login tab located at the top right-hand side of the website.
- Create a login account and then sign-in.
- Read the KC Events Terms of Service before proceeding
- On the left-hand nav is a category called Submit Content
- Click on Submit an Event or Manage Your Events.
- Listings will be approved with 48 hours if it fits the KCMetropolis.org criteria.
Jazz,
Bebop, Bid & Boogie
The American Jazz Museum invites you to come join the fun at their 2nd annual Vine Street Boogie spring celebration. On Saturday, April 10, 2010 The AJM Student All-Star Band, renowned jazz vocalist and recording artist Angela Hagenbach, celebrity emcee Bryan Busby and Honorary Chairs Bobby Watson and Pamela Baskin-Watson will take the stage to promote the American Jazz Museum's mission to celebrate and bring awareness to the rich history and experience of jazz. 
The Vine Street Boogie is the Museum's major annual fundraiser, and helps to generate awareness for Kansas City's internationally renowned jazz cultural institution. This event helps generate fiscal support and builds local awareness for the museum's education programs and Changing Gallery exhibits. In addition, a percentage of the proceeds will go to KCMetropolis.org to help fund this important nonprofit arts service organization's mission to keep the performing arts live, vibrant and visible in the community!
So - swing into spring at 18th & Vine for a dynamic 1920's themed evening of delightful cuisine, exceptional entertainment and a silent and live auction featuring a Yamaha AvantGrand piano, a luxury pool table, vacation package getaways, airfare, jazz memorabilia, entertainment packages, jazz festival tickets and a host of other fabulous items. Don't miss this chance to Bebop, Bid and Boogie with the Best in live local entertainment and fellow music lovers in Kansas City!
The American Jazz Museum offers a variety of educational programming to thousands of local students annually, provides opportunities for interaction with renowned musicians from all over the world and builds awareness and appreciation for the diverse range of cultures and people that create jazz. The Vine Street Boogie is an opportunity for YOU to contribute to the presentation and preservation of jazz in Kansas City.
The American Jazz Museum's Vine Street Boogie Silent/Live Auction
Saturday, April 10, 6:30-10:00 pm
American Jazz Museum
$60 per individual or $50 for two or more.
To purchase tickets call Katherine Carttar at 816-474-8463 Ext. 205 or email her at kcarttar@kcjazz.org.
Tell them you heard about this event on KCM!
For more information on the American Jazz Museum visit www.americanjazzmuseum.com
Theatre ,
Local actors and artists team up to fight HIV/AIDS
Pride and Joy and Other Plays by Paul Rudnick will be presented by Actors & Artists Against AIDS to benefit AIDS WALK Kansas City, April 1 through 18, 2010. Directed by Jeff Church, Producing Artistic Director of the Coterie Theatre, this provocative and outrageous comedy, features a collection of hilarious characters, starring local legends, Ron Megee and Missy Koonce.
Koonce and Megee will be joined by Jessica Dressler, Kelly Main and professional wrestler/performer Jeff Smith. Produced by the AIDS Service Foundation of Greater Kansas City, performances will be on the Jerome Stage at the Unicorn Theatre, 3828 Main Street, Kansas City, Mo.
"There are easier ways to raise money than to do a play, but nothing is more fun," laughs director Church. "And I've never forgotten how effective Actors & Artists Against AIDS was in the early '90s when they produced The Normal Heart and The Sum of Us.
Michael Lintecum, who was involved with the group then, felt it was a good idea to resurrect this group this year. I knew I could call in some resources to keep costs down, in order to actually raise money," notes Church.
Indeed, a number of designers are donating their time, talent and expertise to make Pride and Joy and Other Plays by Paul Rudnick. The Coterie donating rehearsal space. Kansas City Repertory Theatre is supporting the play through the loan of scenic items. UMKC Theatre is supplying graduate students.
"This is something artists can do," says Church, who is also donating his services. "This truly fun collection of short comedies celebrates our lives and even our hardships. It is perfect theater to see in the weeks leading up to AIDS WALK this year. Every night will be Opening Night in spirit and with champagne!"
This comical bill of short plays contains some of Rudnick's best works to date. Rudnick also wrote Adams Family Values and Jeffrey. In Pride and Joy, Helene (played by Missy Koonce) is a Long Island matron and self-proclaimed "most loving mother of all time" to her three gay children. The flamboyant Mr. Charles, (played by Ron Megee) spends his time in the company of the hunky Shane, with whom he produces a cable television show, Too Gay.
The group Actors & Artists Against AIDS are promising an evening of extraordinary theater, with characters colliding under surprising circumstances, providing evidence that perhaps the word "family" means something very different than what people might think.
Show Dates:
April 1 through April 18
8 pm Thursday, Friday, Saturday performances
3 pm Sunday matinees
Tickets:
All seats $20, directly benefiting AIDS WALK Kansas City.
There is a $2 per ticket service charge.
For tickets call 816-235-6222 or visit actorsagainstaids.com
Tickets also available at the door one hour prior to performance.
The 22nd annual AIDS WALK Kansas City will be held on Saturday, April 24 at Theis Park 47th and Oak Streets presented by the AIDS Service Foundation of Greater Kansas City the AIDS WALK benefits local HIV/AIDS service organizations to provide practical assistance, housing, long-term nursing care and primary medical, prevention and education services to those whom HIV/AIDS challenges every day. To become a fan of AIDS WALK Kansas City on Facebook.
For more information contact Michael Lintecum at michael@lintecumgroup.com or 913.269.7960, or Karen Massman VanAsdale at kvanasdale@coterietheatre.org or 816.665-8181.
theSTEADY, Jazz,
The way Angela Hagenbach makes us feel
Angela Hagenbach sits alone at the bar and leisurely sips her cocktail as her band warms up the audience. There is only a modest crowd in the club but she's unperturbed. It's early. She knows they'll show. It's this quiet confidence-and her velvet voice-that has made her a Kansas City favorite for nearly two decades.
"Next June 13," Hagenbach reveals. She marks that date as her 20th year of a professional singing career that has included a four-year stint playing five nights a week at the Ritz-Carlton.
"When I first started, there were so many places. I worked six or seven nights a week, sometimes two or three gigs a day."
Hagenbach scaled back on live performance about a year ago, tired of working night after night, weekends and holidays. "Now I get to be more selective. I play where I want."
Her confidence and contentment is the culmination of thousands of live gigs and the knowledge that at this point in her career, she calls her own shots. Coupled with her experience as a professional model, Hagenbach possesses an air of elegance, beauty, and poise even as she sits casually-dressed in a dark, long-sleeved shirt and jeans, her hair pulled back into a ponytail underneath a black cap.
There's nothing plain about the depth and power of her voice, however, rich and wrapped in cashmere. And that lower register is something to be experienced.
She captures the struggle and triumph of a single mother with "From Now On," making lyrics like "I've got to learn to walk again / It's so new being free / I don't mind," feel lived-in.
On "Just You, Just Me" Hagenbach displays impeccable timing and expressive phrasing, bringing to life the insouciant joy of infatuation and budding romance.
And with members of Sons of Brasil backing her, she takes a latin-jazz run at "It Ain't Necessarily So" that has the crowd swaying. Her confidence proves correct; the club is lively and the seats are filling up.
Hagenbach commands the stage with ease and grace, even working in some topical humor into her banter. She jokes about the colossal letdown of the recent NASA moon bombing and incorporated the news story into the lyrics of "Old Devil Moon."
Tonight, her usual backing band is replaced by Stan Kessler (trumpet) and Doug Auwarter (drums) of Sons of Brasil, as well as Matt Hopper (guitar) and Gerald Spaits (upright bass).
Hagenbach is unconcerned. She's played with all of them at some point along her journey, the beginning of which schooled her in the ability to sit in with anyone and let the music flow.
The North Kansas City native, the seventh of eight children, grew up immersed in music. Her father was a music veteran of the 12th & Vine clubs and her mother was trained in classical piano. Naturally there was always music in the house.
And while as a youngster, Hagenbach preferred listening to contemporary music from the music collections of her brothers and sisters, she wasn't oblivious to the rich heritage of classical and jazz present in her roots.
"There was this photo of Dad playing in a small big band. They were in a giant oyster shell. I didn't really listen to Dad's music then but now they're precious memories."
What began with front porch concerts, garage bands, and gospel choirs became a growing desire for the music she'd been exposed to as a youth. She rediscovered Sarah Vaughn, Miles Davis, and Shirley Horn, at times moved to tears.
"It was a religious experience," Hagenbach recalls.
She decided she wanted to learn how to sing jazz, scouting out and attending weekly Saturday afternoon jam sessions, honing her skills, gauging crowd reactions and learning how to work an audience.
She spent several years juggling music with full-time modeling until she decided to dedicate herself completely to being a jazz chanteuse. She incorporated and founded Amazon Records and released her debut album, Come Fly With Me in 1994 and hasn't stopped since.
Her newest album, inspired by the works of Henry Mancini, Michel Legrand, and Johnny Mandel called The Way They Make Me Feel, was released on Resonance Records on October 13. She plans to celebrate with a return to Jardine's for a release party on November 6.
So what's next for a woman so self-possessed and in control of her own destiny?
Hagenbach explains that she's been concentrating more on songwriting. Last October, two of her original tunes were used in "Last Will" a new film starring Tom Berenger and Tatum O'Neal. Hagenbach herself makes an appearance, fronting the band in a wedding scene.
"Every fifteen or so years, I like to reinvent myself," says Hagenbach.
It's plain to see that smitten Kansas City audiences are willing to go along for the ride.
Review:
Angela Hagenbach
Saturday, October 10, 2009
Jardine's Restaurant and Jazz Club
4536 Main St., Kansas City, MO
For tickets call 816-561-6480 or online at www.jardines4jazz.com or www.amazonrecords.com
Preview:
The Way They Make Me Feel
CD Release Party
Friday, November 6 at 6:00 p.m. and 8:00 p.m.
Jardine's Restaurant and Jazz Club
4536 Main St., Kansas City, MO
For tickets call 816-561-6480 or online at www.jardines4jazz.com or www.amazonrecords.com
Classical,
Bach continues to delight and inspire
All musical roads lead to Bach. Not one of the many J.C. Bach's or the significant W.F or C.P.E Bach but - the big guy - Johann Sebastian Bach. From the simple educational pieces in the Notebook for Anna Magdelena Bach to the mind blowing complexity of the Concertos for Solo Violin, musicians all over the world have grown up with Papa Bach. Violinist and director of the Bach Aria Soloists, Elizabeth Suh-Lane has. "Mastering Bach is a lifelong pursuit" she told the audience last Saturday.
The Kansas City Bach Aria Soloists have been pursuing Bach and the composers influenced by him for ten years with great success. Through the development of the Hauskonzert approach to presenting chamber music in an actual room of a generous patron's home, the group recreates the authentic Baroque experiences. But Bach was also a dedicated church musician and Kapellmeister. His other "home" was the organ loft. Saturday night the performance took place at the elegant Village Presbyterian Church where the arched Palladian windows and white walls complimented the luminous blue harpsichord and the silvery organ pipes. 
The Master of Ceremonies for the evening was William 'Bill" McGlaughlin, who KC audiences will remember as former Music Director of the Kansas City Symphony from 1986-1998; and who audiences all over the U.S. will know as the voice of the classical music interview show, St. Paul Sunday Morning on National Public Radio. McGlaughlin introduced the pieces with interesting background information and facilitated an amusing dialog. "This is music of the Enlightenment" he said. And enlighten the audience, he did.
The program began with a piece about fatherly love, Gott versorget from Cantata 187 expertly sung by soprano Rebecca Lloyd. Ms. Lloyd has a beautiful balance of mellow and bright in her tone which she understands and uses to maximum effectiveness. In the piece Ich bin vergnugt, from Cantata 58, she animated the text with such ferocious passion that I wondered if this piece had informed Mozart when he wrote the Queen of the Night aria from The Magic Flute. Her final pieces from Cantata 202, Und dieses ist das Glucke, Sich uben im Lieben, were written as Tafelmusik, or table music, for a special occasion. The text describes the sensual love between a man and a woman, something old papa Bach knew a thing or two about having fathered 20 children himself.
The versatile guitarist, Beau Bledsoe joined Elizabeth Suh-Lane for some of Bach's more famous preludes transcribed for guitar and violin. The highly arpeggiated preludes were performed with precision by Bledsoe whose instrument gave the usually stiff pieces a humble and heartfelt feeling. Suh-Lane, used her lighter Baroque bow to skim the top of the strings. The occasional overtone had a tendency to escape, but it didn't distract, it merely heightened my awareness of the authenticity of the sound. Bledsoe and Lloyd joined after the intermission for the gorgeous Cantilena from Bachianas Brasileiras No. 5. Originally written to be accompanied by eight cellos, I like the texture of the guitar better. Bledsoe specializes in the Flamenco and tango music of South America and Spain, but he seemed to play this piece with more gravitas than flair. The piece ends with the soprano humming a high "A". Lloyd effortlessly projected the glorious note through the space to the amazement of everyone there.
Elisa Bickers performed a series of improvisations on the familiar Baroque Chorale that we recognize as Praise to the Lord, the Almighty. With each version, the tune morphed. From the contrasting stops in each hand to a creative use of ornamentation and on to a passacaglia she stretched the limits of the tune - as well as demonstrated the range of the instrument, just as Bach would have done. The harpsichord would seem to be diametrically opposed to the organ in size and technique. She played the harpsichord with a stylish touch that was sensitive to the needs of the ensemble. 
When Elizabeth Suh-Lane took the stage, she demonstrated how Bach influenced Bartok. First she played the fiery presto movement from the Sonata No. 1 in G minor for Unaccompanied Violin, BWV 1001. Each note seemed to fall perfectly into place with exactly the right stress, and it made the busy lines meaningful to the ear. Juxtaposing the Melodia and Presto movements from the Bartok Solo Sonata for Violin, Sz. 117 was pure genius. She switched to the heavier, modern bow at that point, and it was as if a different instrument was being played. The result was a rich, mellow, silky smooth sound. Bartok stretches the boundaries of possibility with this incredible piece, and Suh-Lane was required to use nearly every expressive technique known to her instrument. The Presto movement, in particular, had unmistakable references to Bach. It was clear that Bartok would not have been the same composer had Bach not lived.
The conclusion of the concert was met with a well deserved standing ovation. Interesting, well designed programming is a hallmark of the Bach Aria Soloists. Having the skilled Bill McGlaughlin on stage to flesh out the composers and put it all into context made this concert a satisfying mixture of education and entertainment. I can't wait for their next intriguing collaboration.
REVIEW:
Bill McGlaughlin and the Bach Aria Soloists
Inspired by Bach
Saturday March 27, 2010
Village Presbyterian Church
Prairie Village, KS
For more information call 816-235-6222 or online at www.BachAriaSoloists.com
Top photo: Elizabeth Suh-Lane
Classical,
Cheeky queens
It might be easy to dismiss the Heartland Men's Chorus performances last weekend as campy fun, but that would be a great disservice to these gents who can actually sing! The flash, pizzazz, and humor were just an added bonus.
Their British Invasion spectacle-a better term for the proceedings than "concert"-opened with a very funny introduction by chorus member Mike Sigler as Queen Elizabeth set to the strains of "God Save the Queen." Many of the jokes throughout the evening were at the expense of the 'inauspicious occasion' of Artistic Director Joseph Nadeau's fortieth birthday. A Beatles medley arranged by Tim Sarsany followed the opening pomp and circumstance. John Edmonds' lovely tenor perfectly suited the solo in Lennon's "Let it Be."
Herman's Hermits' "This Door Swings Both Ways" was performed with just enough tongue-in-cheek, double entendre and wink-wink-nudge-nudge panache. I expected the stage to be flooded with panties and designer boxer briefs during Tom Jones' "It's Not Unusual." That was one of the few missed humorous opportunities of the evening.
Eric Clapton's "Tears in Heaven" would have benefited by transposing it to a lower key as the delicateness of the original came off too strained in the arrangement. The James Bond Collection was overlong even though the golden Bond "ladies" tried to rescue the set from some early botched trumpet licks and flat saxophone playing. The ending "Live and Let Die" was performed with that McCartney inflection that makes the tune so memorable and gritty.
The Elton John medley that ended the first half, boasted the most difficult music of the night and the best arrangements. Sir Elton's music is not easy by any stretch. While the pitch suffered on "Goodbye Yellowbrick Road" the men more than made up for it by nailing "Candle in the Wind's'" tricky rhythms. "The Bitch is Back" was fun when certain members pointed out the "bitches" in the ensemble - all performed with catty good natured-humor. The prerequisite sequined jackets, neon boas and lit-up sunglasses made their appearance in the over-the-top "I'm Still Standing" closer.
After intermission the group went Down Under with a BeeGees Medley. Some of the polyester leisure suit clad dancers were quite nimble - although at one point I felt sure one dancer was about to tumble into the pit! A subset of the chorus, the Heartaches performed Queen's "Crazy Little Thing Called Love" well, but it did not match the energy of their first half feature, the Rolling Stones' "Satisfaction."
Soloists Jedidiah Kruger (in a Susan Boyle impersonation that had the crowd roaring with laughter and applause), Kelly Marzett (featured in the Boy George medley) and Jeff Williams (in a mash-up of "Careless Whisper" and "Father Figure" by George Michael and Wham) were all suited for their solos and performed them like seasoned pros. But Mark Lechner stole the show with Monty Python's "Every Sperm is Sacred." Playing to a diverse, gay-friendly, sold-out crowd, how could it not bring the house down! The pièce de résistance was a phallic rainbow streamer-covered drum major mace.
Closing the concert was the Spice Girls "Wannabe." It was somewhat of a letdown compared to the rest of the concert. It just lacked the previous numbers' energy. (Perhaps it was due to Scary Spice's stiletto boots!)
I thoroughly enjoyed the Sunday afternoon show; and having never been to one of the Heartland Men's Chorus performances before, this was a perfect introduction. I am looking forward their June performances.
REVIEW:
Heartland Men's Chorus
British Invasion
Saturday, March 27 &
Sunday, March 28, 2010 (Reviewed)
Folly Theatre,
12th and Central Streets, Downtown Kansas City, MO
www.hmckc.org
Film,
" The Girl on the Train"
With any good novel, the most important thing for the writer to do is grab the reader's attention with the first sentence or paragraph. The same principal should hold true for cinema. No filmmaker should want his audience to be asking halfway through the film, "Where is this story going?" Unfortunately, The Girl on the Train is a one-way ticket to boredom.
Inspired by true events, The Girl on the Train, or what should have been called The Girl Who Cried Wolf, is set in modern day France where anti-Semitic attacks are on the rise. It's against that backdrop that Jeanne (Émilie Dequenne), a lying daydreamer who would rather roller blade than work, moves in with an aggressive, creepy wrestler named Franck (Nicolas Duvauchelle).
What the naive Jeanne doesn't know is that Franck is helping a drug dealer by watching over his stash until his return. It goes disastrously wrong and Franck dismisses her, causing her fragile psyche to collapse. Perhaps out of a desire for attention, Jeanne cuts herself up, puts swastikas on her stomach, and claims six men attacked her on a train because they thought she was a Jew.
Jeanne's devoted mother, Louise (Catherine Deneuve) reaches out to well-known Jewish attorney Samuel Bleistein (Michel Blanc) who had a crush on her when they were young. Bleistein takes on Jeanne's case out of a favor to Louise but soon realizes that her story, which creates a national uproar, is false.
Even after 30 minutes it's difficult to know where The Girl on the Train is headed. It's pacing is horrible and the dramatic elements are disjointed at best. The only tension in the entire 105-minute running time is Franck's obsessive pursuit of Jeanne and his later fight with a local drug dealer.
Sadly, other than what the principal characters say and a few generalized sound bites in the background, we never get a true feel for the outrage the French nation has towards Jeanne's lies. It's also difficult to call her a sympathetic victim of circumstance because Dequenne's sub par performance has less personality than a piece of lumber.
The film's original intent is also damaged by a distracting side story about the on again/off again relationship between Bleistein's bickering son and ex-wife, not to mention his grandson's impending Bar Mitzvah. Neither element adds anything to the central storyline, if there is one.
Lastly, by not exploring further the relationship between Louise and Bleistein, the director also missed out on a great opportunity to fully utilize the talents of a legendary actress like Deneuve. It's an unforgivable blunder.
On a letter grade scale from A being excellent to F for failing, The Girl on the Train receives a D.
The Girl on the Train is unrated and has a running time of 105 minutes.
Now showing through April 1 @
Glenwood Arts
9575 Metcalf, Overland Park
Visit www.fineartsgroup.com or call 913-642-4404 for more information.
Theatre ,
"Bus Stop" full of local charm
On the heels of the closing weekend of "Broke-ology" at Copaken Stage, Friday evening KC Rep continued Kansas-themed theatre at its UMKC Stage with William Inge's 1955 comedy, "Bus Stop", directed by Steven Cosson. KC Rep's next work, "Venice" (co-written by Artistic Director Eric Rosen), is in pre-production, marking an artistic milestone with three works overlapping one another.
Very funny throughout, "Bus Stop" also provides glimpses into the serious side of human intimacies through the happenstance interactions of an eclectic group of characters at a snowbound "diner in rural Kansas, about 20 miles west of Kansas City, Missouri." There is Elma, the naïve high school student/waitress (played with wide-eyed, innocent perfection by Blair Baker) who nearly falls for the hauntingly creepy advances of middle-aged patron Dr. Lyman (played with spectacular range by Mark Robbins); bus driver Carl (David Fritts) who obliges diner proprietor Grace's (Cheryl Weaver) itch for an extra-marital romp in her over-the-diner apartment; and young cowboy Bo (Jedadiah Schultz) who has to learn - quickly - how to temper and mature his courting demeanor to win over Kansas City chanteuse Cherie (Adria Vitlar). Vitlar plays the role made famous by Marilyn Monroe in the 1956 movie adaptation. She nails the blonde bimbo persona while injecting a likeable and endearing vulnerability.
"Development" characters enhance and foster these relationships: Sheriff Will (Jim Gall) acts both as Cherie's protector from the initially over-aggressive Bo while seeking to coach Bo on how he might improve his awkward wooing; fellow (but much older) cowboy and father-figure, Virgil (Gary Neal Johnson), tries unsuccessfully to keep Bo from pushing Sheriff Will too far while also coaching him to soften his demeanor towards Cherie; and, in a different pairing, Grace offers motherly tutelage to Elma, which includes issuing a stern warning to her about Dr. Lyman's not-so-innocent attentions.
Probably the funniest part of this play is the way Inge lobs these intermingling plots to the audience. After making some fairly subtle overtures towards Grace, Carl announces to the entire diner that he's intent on taking a long, two hour walk to get some fresh air - in a blizzard. This is followed not long afterwards by Grace's sudden "headache", for which she has to retire to her upstairs apartment to "recover". Only the audience initially appreciates the humor in events that are completely unrelated in the eyes of the other characters. Sheriff Will eventually puts 2 and 2 together, at which point everyone, audience included, enjoys watching him torture Carl with his discovery.
Cherie, to whom we are introduced ahead of Bo and Virgil, is intent on ditching Bo, who has become convinced after the briefest of courtships that she has agreed to marry him and move to his Montana ranch. This makes the over-the-top, bombastic entrance of Bo all the more entertaining, and sets up his inevitable climactic conflict with Sheriff Will. In exploring the character's undercurrents, Schultz does a fine job of revealing Bo's vulnerabilities even as the character continues to put up an aggressive and self-assured front that the audience gradually realizes Bo himself doesn't even believe.
On the flip side of "funny" lies the palpable audience discomfort watching Dr. Lyman slowly lure Elma into his personal space towards a potentially life-altering scenario that could forever taint her innocence. There was a collective, non-verbal "ooohhhh nooooo..." as the audience gradually became aware of his nefarious intentions. Whether by excellent casting or artistic execution, Mark Robbins' "Dr. Lyman" was perfect in the most disturbing of ways. In the universe that included only the audience and the play's cast, the only people who knew what he was really up to were Dr. Lyman and the audience! It was eerily realistic how he would intermittently pull Elma aside, making ever-more-aggressive advances while skillfully masking his intentions from the other characters.
I was equally impressed with the subtlety with which Gary Neal Johnson developed Virgil. With little or no lines for much of his early scenes, Virgil first comes across as a minor character - a mere on-stage sidekick to Bo. But as we learn more about him - including that he was Bo's father's best friend, raising Bo since the age of 10 after his death - it becomes more and more evident that his character has a deeper meaning that will help deliver poignant closure at play's end.
Set Design (Andromache Chalfant), in particular, was exceptional. It looked like someone had sliced a real 1950s-era diner in half, length-wise, and placed it on stage. Above this, on a second level, was Grace's apartment. However effortless it appeared, an impressive amount of work and attention to detail went into delivering a set that looked like it had literally been - delivered. Add to this the equally realistic outdoor backdrop - the audience looks out towards the diner's entrance at a dark, snowy night - and the staging comes together magnificently: every time someone came in or out, you half expected to feel a blast of cold air.
Eventually, of course, the road between the diner and its next stop (Topeka) clears and the stranded patrons are able to move on. Bo and Cherie have come to a mutual understanding about their relationship (thanks in no small part to both Sheriff Will's and Virgil's guidance); Carl and Grace seem to have forged a mutually-rewarding, if vapid, understanding about their "arrangement"; and Dr. Lyman has a moral epiphany (or just hits rock bottom one too many times) that spares Elma learning too soon about the treachery of dirty old men.
As I alluded to earlier, the closing minutes of the play reveal a deeper meaning. The last two characters on stage are Virgil - who opted not to return to Montana with Bo and Cherie - and Grace, who is closing up for the night. With no place to go, Virgil is left to hope he can wake the small town's innkeeper for a room; short of that, as Grace puts it to him, he is "literally out in the cold." Virgil dejectedly meanders out front, where we can see him pausing to light and smoke a cigarette. As he does so, Grace finishes closing up before she retires to her apartment, where we can see her slump herself - equally dejected - into one of the kitchen chairs. The paralyzing cold and snow that has dissipated to free the other characters to return to the normal course of their lives - some improved substantially like Bo and Cherie; some simply not made worse, like Elma; and some with at least a hope of redemption, like Dr. Lyman - has left Virgil and Grace with only uncertainty and emptiness.
And so it is that with the closing curtain, Cosson's interpretation of "Bus Stop" reveals itself to be equally enjoyable, funny, disturbing and enlightening. The characters are as surprisingly deep as that first step into a blizzard's deceptive snowdrift: you expect only to sink up to your ankles, but you wind up hip-deep in something far more challenging.
REVIEW:
Kansas City Repertory Theatre
Bus Stop
By William Inge
Directed by Steven Cosson
Runs March 12 - April 3 (reviewed Friday, March 19, 2010)
Spencer Theatre
4949 Cherry Street, Kansas City, MO
For tickets call 816-235-2700 or online at www.kcrep.org
Top Photo: "Bus Stop" at the KC Rep. Cast members Cheryl Weaver (Grace) and David Fritts (Carl). Photo by Don Ipock.
Local Arts News,
The Arts Council of Metropolitan Kansas City reveals its first "Lost-and-Found" art
The Arts Council of Metropolitan Kansas City wrapped the first of a series of three pieces of "Lost-and-Found" art, one of the horse's heads on the Parks and Recreation's J.C. Nichols Memorial Fountain by sculptor Henri Greber, yesterday Tuesday, March 30, at Mill Creek Park.
As part of a public awareness campaign for its ArtsKC Fund, the Arts Council of Metropolitan Kansas City has created a series of blank billboards with the message, "If we don't support artists, there is no art," replacing the billboards on April 5 with "found art," images of art and arts venues representing Greater Kansas City. In addition, the Arts Council will unveil a series of three "Lost-and-Found" art pieces from different areas of the city as a way to suggest the potential loss of public art in the absence of patronage.
J.C. Nichols Memorial Fountain is the best-known and most-photographed of all of the city's fountains. It is located at the east entrance to the popular Country Club Plaza district. The sculptures were created by Henri L. Greber in the early 1900's and adorned the Mansion of Clarence Mackay in Long Island, NY. The fountain was transported to Kansas City, refurbished and dedicated to the memory of J. C. Nichols, the developer of the Plaza in 1960. The fountain has four equestrian fugues which are said to represent four rivers: the Mississippi River (the rider fending off an alligator), the Volga River (with the bear), the Seine and the Rhine. The J.C. Nichol's Memorial Fountain's horse's head will be wrapped at 11:00 a.m. at Mill Creek Park at the intersection of 47th Street and J.C. Nichols Parkway.
The ArtsKC Fund campaign was launched March 1. Two other "Lost-and-Found" art pieces will be Soundsuit by Nick Cave on April 15 at the Nerman Museum of Contemporary Art at Johnson County Community College and Water Plaza by Jun Kaneko at Bartle Hall on a date to be determined in late April or early May.
About the ArtsKC Fund
The ArtsKC Fund, an initiative of the Arts Council of Metropolitan Kansas City, is a united arts fund that raises new money to support a wide range of arts organizations and programs. Its purpose is to provide stable sources of new financial support for the arts, broaden access to high-quality arts experiences, and sustain excellence in the arts and arts administration. The Arts Council of Metropolitan Kansas City is a not-for-profit organization that serves the five-county Kansas City metropolitan area and strives to strengthen and enrich the community by growing appreciation, participation, and support of its arts resources. For more information about the ArtsKC Fund, visit http://www.ArtsKC.org.
For more information about the Arts KC Fund, call Julia Smith at 816-994-9224 or e-mail at Smith@artskc.org.
Local Arts News, Theatre ,
Unicorn Theatre announces 2010-11 season
Unicorn Theatre, under the artistic leadership of Producing Artistic Director Cynthia Levin, announces the 37th season of bold new plays. The new season will open on September 18 and include six regular season shows and one exciting season extra. In addition to a full line up of new productions to Kansas City, the Unicorn will also continue the In-Progress New Play Reading Series which brings six scripts in development to be read that are being considered for production in upcoming seasons. Also announced, the Unicorn's annual fall gala will take place October 3, 2010. More details on the season and the gala to follow this summer.
[title of show]
Book by Hunter Bell
Music and Lyrics by Jeff Bowen
Directed by Missy Koonce, Musical Direction by Anthony T. Edwards
September 18-October 10, 2010
Previews September 15, 16 & 17
On The Mainstage
Imagine two hyper-talented young songwriters in New York trying to write a new musical about two hyper-talented young songwriters in New York trying to write a new musical. That's [title of show], the deliciously smart and tuneful musical that wowed Broadway audiences and critics last fall. It's a dizzy, unpredictable, and uproarious tongue-in-cheek musical about show business and making one's dreams come true. Follow Jeff, Hunter, Heidi and Susan as they negotiate a musical theatre obstacle course of finding backers, casting singers and making it to Broadway. Fresh, funny and playful, [title of show] is a Cinderella tale set to music about the journey from the unemployment line to the Great White Way.
THE SEAFARER
By Conor McPherson
Co-Produced by Unicorn Theatre and Kansas City Actors Theatre
Directed by Mark Robbins
October 23-November 7, 2010
Previews Oct 20, 21 & 22
On The Jerome Stage
The Seafarer is a chilling new play about the sea, Ireland, and the power of myth. It's Christmas Eve, and Sharky has returned to Dublin to look after his irascible, aging brother who's recently gone blind. Old drinking buddies Ivan and Nicky are holed up at the house too, hoping to play some cards. But with the arrival of a stranger from the distant past, the stakes are raised even higher. Sharky may be playing for his very soul.
DISTRACTED
By Lisa Loomer
Co-Produced with UMKC Theatre
Directed by Cynthia Levin
November 27-December 12, 2010
Previews November 23, 24 & 26
On The Mainstage
Are we so tuned in to our info-rich, 24-7 world that we've tuned out the things that really matter? Jesse is eight and easily distracted, but so are his mother, father, neighbors and even the doctors. When Jesse is diagnosed with Attention Deficit Disorder, the question becomes what to do about it? Is it caused by over stimulation, bad parenting, too many chemicals in the food, or is he just a kid in an ADD world? In their fractured, fast paced, overly wired lives the consequence is almost inevitable. Distracted is a fast-paced and comic look at parenting in the age of the Internet and Ritalin.
IN THE NEXT ROOM OR THE VIBRATOR PLAY
By Sarah Ruhl
Directed by Sidonie Garrett
January 29-February 13, 2011
Previews January 26, 27 & 28
On The Mainstage
Set in the 1880s at the dawn of the age of electricity and based on the bizarre historical fact that doctors used vibrators to treat 'hysterical' women (and some men), the play centers on a doctor and his wife and how his new therapy affects their entire household. In a seemingly perfect, well-to-do Victorian home, proper gentleman and scientist Dr. Givings has innocently invented an extraordinary new device for treating "hysteria" in women (and occasionally men): the vibrator. Adjacent to the doctor's laboratory, his young and energetic wife tries to tend to their newborn daughter-and wonders exactly what is going on in the next room. When a new "hysterical" patient and her husband bring a wet nurse and their own complicated relationship into the doctor's home, Dr. and Mrs. Givings must examine the nature of their own marriage, and what it truly means to love someone.
TWO JEWS WALK INTO A WAR
By Seth Rozin
Directed by Cynthia Levin
March 5-20, 2011
Previews March 2, 3 & 4
On The Jerome Stage
Wonderfully funny and amazingly poignant. In a dilapidated old synagogue in Kabul during the final days of the Taliban regime, the one thing that binds Ishaq and Zeblyan together - they hate each other's guts. Ishaq and Zeblyan are the last two surviving Jews in all of Afghanistan. Inspired by a true story, they are, in fact a real life middle-eastern odd couple. Could it be that the salvation of Afghanistan's Jewish community is left in the hands of these two mushuganas? This play was read in our In-Progress New Play Reading Series.
RUINED
By Lynn Nottage
Co-Produced with UMKC Theatre
Directed by Ricardo Khan
April 16-May 1, 2011
Previews April 13, 14 & 15
On The Mainstage
Entertainment and escape await guests at Mama Nadi's rain forest bar and brothel in civil-war-torn Congo. But is she protecting or profiting from the women she shelters, and how far will she go to survive? Inspired by interviews she conducted in Africa with Congo refugees, Nottage has crafted an engrossing and uncommonly human story with humor and song served alongside its postcolonial and feminist politics. Winner of the 2009 Pulitzer Prize in Drama.
PLUS A Season Extra
A VERY JOAN CRAWFORD CHRISTMAS
Written by Jeff Church and Ron Megee
Directed by Jeff Church
Starring Ron Megee
December 11-26, 2010
Previews December 8, 9 & 10
On The Jerome Stage
Imagine a setting where you can settle in with Joan Crawford, along with her loyal housekeeper, Mamacita, and several Hollywood friends and enemies. Give Joan the respect she's entitled to! Pepsi and vodka: you'll learn to love it. Be sure to visit the craft room to decorate a wire hanger for the tree, and enter the contest. But clean up that mess! Created by Jeff Church and Ron Megee especially for Unicorn Theatre.
Subscriptions for the new season go on sale May 3, 2010.
For tickets call 816-531-PLAY (7529) or online at www.unicorntheatre.org
About Unicorn Theatre
Founded in 1974, Unicorn Theatre exists to enhance the cultural life of Kansas City by producing professional contemporary, thought-provoking theater, which inspires emotional response and stimulates discussion. Unicorn Theatre is under the artistic and executive leadership of Producing Artistic Director Cynthia Levin, who joined the company in 1980. From a newly expanded home in the Midtown neighborhood of Kansas City, Missouri, the Unicorn houses two stages--The Mainstage and The Jerome Stage (added 2007). A fully professional not-for-profit theatre, the theatre operates under agreement with Actor's Equity Association, the union of professional actors and stage managers in the United States. The Unicorn is a founding member of the National New Play Network, an alliance of not-for-profit professional theatres that champions the development, production and continued life of new plays for the American theatre; and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. Financial assistance for this theatre has been provided by The National Endowment for the Arts, a federal agency; the Missouri Arts Council, a state agency; corporate and foundation gifts; and the generous individuals throughout the community we serve.
About Kansas City Actors Theatre
Founded in 2004, KCAT operates under a paradigm radically different from other theatres in the Greater Kansas City metropolitan area, having been founded and led by practicing theatre artists striving to perform plays in the classic "rotating repertory" format. KCAT's vital core company of artists--actors, stage managers, directors & designers from the greater Kansas City community, focus on the craft of the actor and the talents of the playwright; implementing exciting lighting, music and sound, and eschewing expensive, elaborate scenery and costumes. The Actors Theatre performs in locations throughout the city, whether in found spaces such as the recent production of David Mamet's Boston Marriage at The Webster House, or at its "unofficial home" on Union Station's H&R Block City Stage, or in collaboration with friends on the Unicorn Theatre's Jerome Stage.
About UMKC Theatre
UMKC Theatre has been ranked by U.S. News and World Report among the top graduate theatre training programs in the country. The program trains a select group of highly talented actors, designers, stage managers and dramaturgs for careers in the performing arts. Graduates from the UMKC program are invited to the most prestigious New York competitions and auditions to exhibit their work and secure positions with national and international performing companies. The program is accredited by the National Association of Schools of Theatre (NAST) and is a member of the University/Resident Theatre Association (U/RTA). Faculty and alumni of UMKC Theatre have founded the following theatres in Kansas City: New Theatre Restaurant, Coterie Theatre, American Heartland Theatre, Heart of America Shakespeare Festival, Actors Theatre KC, Gorilla Theatre, Martin City Melodrama, Kansas City Repertory Theatre and the wonderful Unicorn Theatre.
City Classics,
Music and Dance through April 7
Ruel Joyce Concert Series
Ron Stinson, trumpet with Patricia Higdon, piano
Monday, April 5 at 12:00 noon
Recital Hall at Carlsen Center
Johnson County Community College
12345 College Boulevard, Overland Park, Kansas
Free admission. For more information visit www.jccc.edu/home/depts.php/1113/site/recitals
The Ruel Joyce Concert Series presents some of our most outstanding local musicians in a series of free noontime concerts at Johnson County Community College. On Monday at noon Ron Stinson, trumpet, and Patricia Higdon, piano, will present a recital. There is no word on the programming.
Local Arts News, Theatre ,
American Heartland Theatre announces 2010-11 season
American Heartland Theatre in Crown Center has announced its 2010-2011 season, celebrating the theatre's 24th season of productions. AHT continues its tradition of providing variety in live theatre by showcasing one, two-time Tony award winning comedy, four Kansas City Premieres, one AHT favorite and one Richard Rodgers Award Winner in its upcoming season. This season's productions will feature local and out-of-state performers.
The Love List
September 10, 2010 - October 24, 2010
Written by Norm Foster
Kansas City Premiere - Rated PG-13
What do you get a friend for a 50th birthday present? If he's still single, you buy him a "love list" from the local gypsy. You help him put pen to paper to come up with a list of ten qualities that define the perfect woman and, "Weird Science-style," she appears! But, just as the gorgeous dream woman appears, the scheme starts to go horribly, mysteriously and hysterically awry! It's as if Neil Simon combined The Odd Couple and The Bride of Frankenstein in this insightful and outrageously funny comedy.
"Sharp, snappy and irresistibly funny." -Contra Costa Times
"Funny, sophisticated and sexy." -Hamilton Spectator
"Outrageously funny. Brilliant writing!" -Rossmore
Plaid Tidings
November 5, 2010 - December 26, 2010
Book by Stuart Ross and Music and Lyrics by Various
Kansas City Premiere - Rated PG
Dreaming of a Plaid Christmas? Great! because the hilarious, harmonious quartet, The Plaids (Frankie, Sparky, Jinx and Smudge) are back with a swingin' holiday spectacular. After their sudden demise, the four young men return to Earth - under the order of a heavenly phone call from Rosemary Clooney - this time to perform a touching, nostalgic holiday show blending mirth, music and a bit of The Ed Sullivan Show. This sequel to the record-breaking Forever Plaid, mixes favorites from the holidays (The Christmas Song, Cool Yule, Let It Snow, Have Yourself a Merry Little Christmas) and popular tunes from the 1950s (Strangers in Paradise, Sh-Boom, Fever). A perfect holiday treat for the entire family.
"It's a charming Christmas show you will always remember." -The Austin Chronicle
Maybe Baby, It's You
January 7, 2011 - February 20, 2011
Written by Charlie Shanian and Shari Simpson
Rated PG
The blockbuster comedy about the search for that most elusive of all entities... your soul-mate. We take a raucous ride through male-female relationships in the company of two searchers with a laundry list of must-have qualities for a mate that swiftly dwindles down to "warm and breathing" as the only prerequisite; a mild-mannered Midwesterner whose blind date turns out to be the Greek goddess Medea; a gorgeous, charming brain surgeon who is always "Mr. Wrong" due to his penchant for spastic, arrhythmic club dancing; an elderly divorced couple who entertain the fantasy of a reconciliation at their grandson's soccer game; and other would-be and shouldn't-be couples trying to find each other. Maybe Baby, It's You. Or maybe...it isn't.
"NO 'MAYBE' BABY, IT'S A WINNER! Maybe Baby is smart, funny, adorable." - New York Post
"These deceptively simple pieces possess a wisdom and good sense that explode gently in the mind afterward." - New York Post
No Way to Treat a Lady
March 4, 2011 - April 17, 2011
Written by Douglas J. Cohen. Based on the novel by William Goldman
AHT Premiere - Rated PG
A devilish blend of humor, romance and murder, this theatrically-charged musical comedy thriller is about an endearing detective who is pursuing a publicity-crazed actor-turned-killer. The detective works to foil the killer's plots while balancing the attentions of a beautiful socialite and a meddling mother. Meanwhile, the killer adopts a myriad of over-the-top disguises, including a slinky Latin dance instructor, French waiter, and kindly Irish priest. This outrageously comic musical will win your heart.
Richard Rodgers Award Winner
"A fine way to treat a musical! A real winner." -N.Y. Post
"Catchy tunes and snappy lyrics." -N.Y. Times
"A fine and dandy way to treat an audience.... It should be on Broadway." - N.Y. Observer
"TERRIFIC! HILARIOUS! DYNAMIC!" -L.A. Time
The 39 Steps
May 6, 2011 - June 19, 2011
Adapted by Patrick Barlow, from the novel by John Buchan, from the movie of Alfred Hitchcock
Kansas City Premiere - Rated PG
Mix a Hitchcock masterpiece with a juicy spy novel, add a dash of Monty Python and you have The 39 Steps, a fast-paced whodunit for anyone who loves the magic of theatre! This Tony® Award-winning treat is packed with nonstop laughs, over 150 zany characters (played by a ridiculously talented cast of 4), an on-stage plane crash, handcuffs, missing fingers and some good old-fashioned romance! The mayhem starts when a man with a boring life meets a woman with a thick accent who says she's a spy. When he takes her home, she is murdered. Soon, a mysterious organization called "The 39 Steps" is hot on the man's trail that climaxes in a death-defying finale! The 39 Steps amounts to an unforgettable evening of pure pleasure!
WINNER! 2 Tony® and Drama Desk Awards, 2008
WINNER! BEST NEW COMEDY Laurence Olivier Award, 2007
The 39 Steps, is Broadway's longest running comedy and still going strong!
"THEATER AT ITS FINEST... Absurdly enjoyable! This gleefully theatrical riff on Hitchcock's film is fast and frothy, performed by a cast of four that seems like a cast of thousands." -Ben Brantley, The New York Times
The Honky Tonk Angels
July 8, 2011 - August 21, 2011
Written by Ted Swindley
Kansas City Premiere - Rated PG
The creator of Always...Patsy Cline, combines over 30 classic country tunes with an hilarious story about three gutsy gals who are determined to better their lives and follow their dreams to Nashville. The all-hit song list includes I'll Fly Away, Stand by Your Man, 9 to 5, Coal Miner's Daughter, Ode to Billy Jo, These Boots Are Made for Walking, Rocky Top, and I Will Always Love You. This charming, foot-stompin' musical has played to sold-out audiences across the country.
"Touched by 'Angels' ... makes audiences laugh until they cry!" -TULSA World
"You'll have to step on your toes to keep them from tappin'." -Asheville Times
For reservations and/or information on 2010-2011 season tickets, call 816-842-9999, visit the box office in Crown Center, or visit www.ahtkc.com.
American Heartland Theatre serves over 150,000 theatre-goers every year from Kansas City and surrounding states. Each season, the theatre presents six productions, including comedies, musicals, dramas and mysteries featuring local, regional and national performers. AHT operates under agreements with Actors' Equity Association in its 440+ seat intimate theatre. American Heartland Theatre is located downtown in Crown Center and is a proud member of www.kclivearts.org.
City Stage, Theatre ,
April Theatre Listings
For complete Theatre listings through 2010, click here to visit the KC Events calendar
Theatre for Young America
Junie B. Jones and A Little Monkey Business
By Barbara Park
Runs March 2 through April 16 at H&R Block Stage at Union Station
For tickets call 816-460-2020 or online at www.unionstation.org
Call or visit the website for performance days and times.
Barbara Park's wildly popular Junie B. Jones character comes to life onstage in this musical adaptation of the book Junie B. Jones and a Little Monkey Business. Junie finds out from her parents that she is getting a present. She is so excited until she finds out it is a "P. U." baby brother! At first jealous, when she hears that her new baby brother is "cute as a monkey", she gets the school kids to give her their snack treats and other gifts in exchange for a peek at the monkey! Songs and words are by Joan Cushing, the same playwright who adapted TYA's Miss Nelson series of musicals.
American Heartland Theatre
I Love You, You're Perfect, Now Change
Book & Lyrics by Joe DiPietro
Music by Jimmy Roberts
Runs March 12 through April 25 at Crown Center
For tickets call 816-842-9999 or online at www.ahtkc.com
Call or visit the website for performance days and times.
I Love You, You're Perfect, Now Change celebrates the universal theme of love and pokes fun at the life experiences we've all either gone through or will go through. I Love You explores every aspect of relationships- the joys of dating, romance, marriage, lovers, babies, husbands, wives...and in-laws. Always funny and fresh, I Love You, You're Perfect, Now Change is well suited for the new couple looking to see what life's going to be like or for the husband and wife that have been through it all and still say "I love, you're perfect, don't change." When the off-Broadway run of I Love You, You're Perfect, Now Change closed in the summer of 2008, it had played 5,003 performances and 20 previews, an astonishingly long run by any measure, but downright historic for an off-Broadway musical (and second only to the run of "The Fantasticks"). If its 12 year run isn't a testament to the enduring charm, wit and wonder of this musical, we don't know what is! Returning to the American Heartland Theatre 12 years after its Kansas City premiere, I Love You is back and better than ever.
The Coterie Theatre Elementary/Family Series
Frindle
Runs April 6 through May 23 at the Coterie Theatre, Crown Center Lower Level
For tickets call 816-474-6552 or online at www.coterietheatre.org
Call or visit the website for performance days and times.
Nicholas is ingenious. In Mrs. Granger's language arts class, Nick gets his best idea ever when his teacher explains how words end up in the dictionary. Nick decides to create his own word... frindle, and he gets other kids in the class to use the word. Before long Nick's word creates a buzz well beyond his school and town. But his teacher loves the dictionary, so a fierce power struggle ensues over a made-up word!
Read the KCMetropolis review here.
Metropolitan Ensemble Theatre
Mappa Mundi
Runs April 8 through at METspace
For tickets call 816-569-3226 or online at www.metkc.org
Call or visit the website for performance days and times.
Midwest premiere directed by Bob Paisley at the MET, Mappa Mundi treads the edge of dangerous waters. Jack is a grouchy, terminally ill patriarch who is staying with his well-to-do daughter, Anna. She is the apple of his eye but he's nursing bigoted attitudes about her black fiancé, Sholto. Jack's questionable fascination with a map-drawing, plantation-owning ancestor is tied up with his yearning for another life and a dark incident in his past.
Read the KCMetropolis review here.
Kansas City Repertory Theatre
Venice
By Matt Sax & Eric Rosen
A co-production with Center Theatre Group
Runs April 9 through May 9 at the Copaken Stage, H&R Block Building
For tickets call 816-235-2700 or online at www.kcrep.org
Call or visit the website for performance days and times.
Matt Sax and Eric Rosen, creators of the phenomenal Clay, join forces once again to tell an explosive new story of struggle and redemption. Set in the not-too-distant future, Venice is the tale of two brothers who must lead a city out of a terrorist war. Though both are haunted by the memory of their mother, a leader of Venice whose call for peace was silenced in a massive attack on the city, one brother chooses to follow in his mother's footsteps and the other sets out to see his brother's plans undone.
An operatic story of war, love, treachery and the quest for peace, Venice boasts a powerful and highly original score of hip-hop, R & B, art song and opera that will make your heart pound. A cooperative effort with Los Angeles' Center Theatre Group, which originally commissioned Venice, this world premiere will rock Kansas City before heading west to its L.A. premiere. (Contains strong language & adult themes.)
New Theatre Restaurant
Becky's New Car
By Steven Dietz
Starring John Davidson
Runs April 15 through June 20 at New Theatre Restaurant
For tickets call 913-649-SHOW (7469) or online at www.newtheatre.com/home.html
Call or visit the website for performance days and times.
To call John Davidson "a man of many talents" is to utter the understatement of the year. He has made a very successful career out of excelling in just about every form of entertainment there is. From Broadway to TV to movies and a dozen or so solo albums. John's talents prove him to be much more than just an incredibly nice, handsome man. And in BECKY'S NEW CAR, he's also very funny!
Becky Foster has a pretty good job, a pretty good husband and a pretty good life so when a charming, bumbling billionaire starts flirting with her, Becky is surprised that she allows him to believe that she is widowed.
Theatre for Young America
The Monarchs of KC
Runs April 20 through May 15 at City Stage at Union Station
For tickets call 816-460-2083 or online at www.tya.org
Call or visit the website for performance days and times.
Two of Kansas City's nationally known performers, Lonnie McFadden and Danny Cox, will appear together in Theatre for Young America's The Monarchs of KC.
Baseballs were bouncing and jazz was jumping in the 1930's and 40's in Kansas City. Step back to the glory days at 18th and Vine when every baseball player wanted to play bass and every bass player wanted to play ball! This musical is produced to honor the Negro Leagues Baseball Museum.
Quality Hill Playhouse
Lullaby of 42nd Street
Runs April 23 through May 23 at Quality Hill Playhouse
For tickets call 816-421-1700 or online at www.qualityhillplayhouse.com
Call or visit the website for performance days and times.
Harry Warren gave us the music for the show 42nd Street; we'll explore those songs plus others he wrote including "Chattanooga Choo Choo", "You Must Have Been a Beautiful Baby", "I've Got a Gal in Kalamazoo" and more. Featuring Lauren Braton, Molly Hammer, Julie O'Rourke and James Wright, with J. Kent Barnhart at the piano, Steve Lenhert on bass and Ken Remmert on drums.
The Coterie Theatre
Young Playwrights' Festival
Wednesday, April 28 & Thursday, April 29
Coterie Theatre, Crown Center Lower Level
Free admission. For more information visit www.coterietheatre.org
Call or visit the website for performance days and times.
The Coterie's Young Playwrights Roundtable features a collection of new work by the city's best young writers. The rich and varied theatrical writings which emerge from a year-long process are forged into an ambitious festival of script-in-hand stagings utilizing professional actors.
Unicorn Theatre
And Her Hair Went With Her
Directed by Jacqueline L. Gafford
Runs April 30 through May 23 at the Unicorn Theatre
For tickets call 816.531.PLAY or online at www.unicorntheatre.org
Call or visit the website for performance days and times.
Wigs, weaves, and pop culture! Salon owner Jasmine and her radical assistant Angie dish the dirt on a salon of eccentric clients and discover how self-image affects us all. A wild range of women, personalities, hairstyles and trends emerge in this funny, poignant blowout of African-American sisterhood and identity. Another BOLDNEWPLAY from our In-Progress New Play Reading Series.
For complete Theatre listings through 2010, click here to visit the KC Events calendar.
To be included in this column, you must have your event listed on the KC Events Calendar. Click here for instructions.
Local Arts News, Theatre ,
Kansas City Actors Theatre announces 6th season
Beginning with "Sizzling Summer of Siblings," two back-to-back productions exploring special bonds, first between brothers, then among sisters-in two very different works. In July we open with one of America's most prolific playwrights, Sam Shepard and his True West. Over twenty years ago, KCAT favorites Jim Birdsall and Mark Robbins brought True West's Lee and Austin to life on the Missouri Repertory Theatre stage. They'll reprise their roles in this classic play about two estranged brothers and their testosterone-driven rivalry in what David Krasner, author of A Companion to 20th-Century American Drama cites as "Shepard's signature piece, the leanest, most pointed of his full length works." The San Francisco Chronicle calls it "...clear, funny, naturalistic. It's also opaque, terrifying, surrealistic. If that sounds contradictory, you're on to one aspect of Shepard's winning genius; the ability to make you think you're watching one thing while at the same time he's presenting another." True West will be directed by Robert Elliott.
"We have two wonderful plays chosen with our characteristic attention to thematic links, this time in their shared explorations into the struggles-often very passionate-among siblings," says Artistic Committee Chair, Mark Robbins. That exploration continues with the Kansas City premiere of Marion Bridge by Canada's preeminent playwright, Daniel MacIvor. When three troubled sisters reunite to care for their dying mother, they learn more about each other and themselves and come to terms with the past. Ed Guthmann of the San Francisco Chronicle says "...ultimately hopeful, it's a domestic tragedy that cuts clearly to the bone, finding emotional nuance among the family's knotty secrets and dense layers of subterfuge."
Building on last season's success, KCAT is expanding its season to include four shows and as Robbins notes, "...we couldn't do it without the help of our terrific partners in these special collaborations that are sure to be memorable." In the fall, we'll visit Dublin in Conor McPherson's The Seafarer with our friends at the Unicorn Theatre. It's Christmas Eve and four old friends gather for a game of cards; but with the arrival of a stranger from the past, the stakes for some are much higher than you think. Ben Brantley of the New York Times calls The Seafarer "a thinking-person's alternative to It's a Wonderful Life on a flagon of Christmas cheer." "This dark and enthralling Christmas fable of despair and redemption descends at some point to oceanic depths of drunkenness...it tingles with the author's acute and authentic sense of what is knowable and unknowable in life." Brantley calls McPherson "the finest playwright of his generation." Mark Robbins directs the show on the Jerome Stage at the Unicorn Theatre.
In a unique collaboration with the National WWI Museum and the UMKC Theatre Department, KCAT closes the season in February with one of the 20th century's theatrical masterpieces, Oh What a Lovely War! This carnival of song, battle and heartbreak by London's famed Theatre Workshop portrays the war to end all wars and blazes its way on to the stage at America's national museum dedicated to that war. The show features a large ensemble cast including John Rensenhouse and Gary Holcombe directed by Barry Kyle, acclaimed director of the Royal Shakespeare Company and The Globe Theatre in England.
KCAT's summer productions are at Union Station's H&R Block City Stage and run from July 23 through September 12. The Seafarer can be seen on the Unicorn Theatre's Jerome Stage from October 20 through November 7 and Oh What a Lovely War! runs from February 11 - 27, 2011 at the National WWI Museum's stage in Nichols Auditorium.
Season subscriptions now on sale at www.kcactors.org or by calling the Central Ticket Office at 816-235-6222.
The Actors Theatre is Kansas City's only artist-led, artist-driven theatre company, producing classic and modern-classic plays featuring Kansas City theatre artists.
Local Arts News, Theatre ,
Kansas City Repertory Theatre announces 2010-11 season
"I've really tried to build a season that gathers all the success we've realized in my first two years at the Rep and moves us forward a step," said Rosen. "We have a fantastic lineup that includes a joyous, comical new musical; an inspiring story of triumph over adversity; a deeply probing drama about one of the country's most controversial issues and a wild new vision of an Ibsen classic."
The Rep will present a seven-play season with four shows at Spencer Theatre on the UMKC campus, where Kansas City Rep is the professional theatre in residence, and three productions at Copaken Stage at 13th and Walnut streets in downtown Kansas City, Missouri.
Kansas City Rep's 2010-11 season is as follows (dates and titles are subject to change):
Saved!
Music and lyrics by Michael Friedman
Book and lyrics by John Dempsey and Rinne Groff
Directed by Gary Griffin
September 10-October 3, 2010 at Spencer Theatre
Saved! Is a ground-breaking new musical based on the popular movie of the same name. It follows an unforgettable senior year at a Christian high school where a popular girl will do anything to save her boyfriend, including testing the limits of her school and her family's faith in their beliefs and each other. Saved! is a smart, funny and moving new musical by some of the most important artists in the American theatre.
Griffin directed Kansas City Rep's hit production of A Flea in Her Ear, which The Wall Street Journal said was, "direct, vigorous and gimmick-free."
Harriet Jacobs
Adapted by Lydia Diamond from Incidents in the Life of a Slave Girl by Harriet Jacobs
Directed by Jessica Thebus
October 22-November 21, 2010 at Copaken Stage
A young slave woman's remarkable story of triumph over brutal oppression, Harriet Jacobs is adapted from one of the most important books in the history of the Abolitionist movement, Incidents in the Life of a Slave Girl. After nearly seven years hiding in a tiny garret above her grandmother's home, Harriet Ann Jacobs secretly boarded a boat and escaped to New York and, eventually, to freedom.
Thebus, who co-wrote Winesburg, Ohio with Rosen, is on the faculty at Northwestern University and is a frequent director at Steppenwolf Theatre.
A Special Holiday Event
A Christmas Carol - Thirtieth Anniversary Production
By Charles Dickens
Directed by Kyle Hatley
November 19-December 26, 2010 at Spencer Theatre,
Kansas City Rep brings back its traditional holiday production A Christmas Carol, refreshed for its 30th anniversary production.
Hatley has directed the Rep's productions of The Borderland and its recent hit Broke-ology, a family drama by Nathan Louis Jackson. Hatley is the Rep's assistant artistic director.
Another American: Asking and Telling
Written and performed by Marc Wolf
January 14-February 6, 2011 at Spencer Theatre
Playwright/actor Marc Wolf has created a powerful, provocative performance that brings us face to face with every point of view about the government's "don't ask, don't tell" policy regarding the rights of gay men and women to serve in the military. Over a three-year period, Wolf interviewed more than 150 people with opinions on both sides of the issue to create his compelling and relevant Obie Award-winning play.
Circle Mirror Transformation - Midwest Premiere
By Annie Baker
Directed by Kyle Hatley
February 18-March 20, 2011 at Copaken Stage
Acclaimed as the debut of the year by one of the most exciting new writers in the country, Circle Mirror Transformation is the hilarious, moving new comedy about five citizens of a rural town who begin a community acting class, each with their own expectations, but soon learn more about each other and themselves than they bargained for. Circle Mirror Transformation has been hailed as one of the most insightful and original new plays of the year.
Cabaret
Music by John Kander
Lyrics by Fred Ebb
Book by Joe Masteroff
Directed by Eric Rosen
March 18-April 10, 2011 at Spencer Theatre
or
A Streetcar Named Desire
By Tennessee Williams
Directed by Eric Rosen
March 18-April 10, 2011 at Spencer Theatre
When Eric Rosen took the post of artistic director two years ago, these two classics were at the top of his list of dream projects for the Rep. The final decision will be made in the coming weeks, pending artist schedules and availability.
Prior to his appointment as artistic director, Rosen directed Metamorphoses and The Trip to Bountiful at the Rep. As the theatre's artistic lead he has directed the world premiere of A Christmas Carol, The Musical!, his original musical Winesburg, Ohio, for which he also wrote book and lyrics, and the hip hop musical Clay (and its Lincoln Center run). He will also direct the upcoming world premiere of Venice.
Peer Gynt
By Henrik Ibsen
Adapted and directed by David Schweizer
April 22-May 22, 2011 at Copaken Stage
Based on a Norwegian folk tale with forty characters and five acts, Peer Gynt, one of Ibsen's most influential and famous plays, is almost never staged. World renowned director David Schweizer has brilliantly adapted Ibsen's "impossible-to-produce" play into a wild and surreal comic adventure.
For subscription renewal information, call the Kansas City Rep Box Office at 816-235-2700. Tickets will go on sale to the general public in late summer. Information about the Rep is available at www.KCRep.org
About Kansas City Repertory Theatre
Now in its 45th season, Kansas City Repertory Theatre is its region's only member of the prestigious national League of Resident Theatres (LORT) and serves as the professional theatre in residence at the University of Missouri-Kansas City (UMKC). The company produces plays and events at Spencer Theatre, its mainstage theatre on the UMKC campus, and at Copaken Stage at 14th and Walnut streets in downtown Kansas City. The mission of Kansas City Rep is to present productions of excellence that are diverse, literate and timely, and to provide educational and outreach services for students and our community.
Off the Vine,
May Events
Women In Jazz:
A collection of portraits, artifacts and films showcasing seminal women jazz artists from Kansas City & beyond
Far too long, women have been written out of the history books. Jazz venues and scholars have an obligation to strengthen the awareness of the many incalculable contributions women have brought to the music by showcasing their talents on stage, musing about their historical significance in text books and mounting meaning exhibitions spotlighting their images and personal artifacts.
To that end, the American Jazz Museum has proudly opened a groundbreaking exhibition, Women In Jazz: A Collection of Portraits, Artifacts and Films Showcasing Seminal Women Jazz Artists from Kansas City & Beyond. The exhibit runs through May 30, 2010. Curated by Sonie Ruffin together with Geneva Price and the American Jazz Museum staff, this opening marks an important milestone as the first multi-dimensional exhibition from the archive collections at the American Jazz Museum.
Elements of the exhibit include commissioned portraits by noted Kansas City visual artist Janet Kuemmerlein. Her work pays tribute to eleven celebrated Kansas City Women artists including Oleta Adams, Karrin Allyson, Queen Bey, Deborah Brown, Pearl Thuston Brown, Carol Comer, Angela Hagenbach, Lisa Henry, Marilyn Maye, Julie Turner and the Wild Women of Kansas City.
Priceless images and personal artifacts from the Museum's archives spotlight other seminal women jazz and dance artists including Mary Lou Williams, Julia Lee, Priscilla Bowman, Billie Mahoney, Betty Miller, Marsha Bland, Billie Holiday, Lena Horne, Carline Ray, Joanne Brackeen, Ella Fitzgerald, Sarah Vaughan, Melba Liston, Betty Carter, Shirley Horn, Abbey Lincoln, Anita O'Day, Cleo Brown, Carmen McCrae, Nancy Wilson, Toshiko Akiyoshi, Dorothy Donegan, Marian McPartland, Annie Ross, Gloria Lynn, Geri Allen, Nnenna Freelon, Alice Coltrane and Lil Hardin Armstrong. 
Women In Jazz also features rare film soundies from the American Jazz Museum's John H. Baker Jazz Film Collection along with recorded aural interviews and an exhibition text booklet with brief biographical support - soon to be released.
These portraits, images, artifacts and films serve as fitting exemplars of the significance women have brought to the music.
To further highlight the far-reaching impact of women and their un-matched contributions, the American Jazz Museum will continue to host a series of public programs, conduct dedicated tours and launch its Women In Jazz National Initiative. We hope you will make a point to visit the Museum and to experience, for yourself, why this exhibition is a fitting tribute to women in jazz.
Public Programs:
May 13, 2010 - 2:00 pm
Changing Gallery - American Jazz Museum
Women in Jazz Salon
An open, yet intimate discussion about your favorite women jazz artists, their barriers and accomplishments. Salon conversation with Geneva Price.
May 22, 2010 - 2:00pm
Atrium - American Jazz Museum
Marching on While Standing on Their Shoulders
Closing Session & Free Atrium Concert w/ Deanna Witkowski
With celebrated recording artist Deanna Witkowski live in concert and an all-star scholar panel including Dr. Tammy Kernodle (Miami University, Ohio), Dr. Sherrie Tucker (University of Kansas), Dr. Doris Wright Carroll (Kansas State University) and filmmaker Carol Bash (Paradox Films, NYC). A special Stories from the Vine event moderated by yours truly.
Exhibition Hours: Tuesday - Saturday, 9:00 am - 5:30 pm; Sunday, 12:00-5:30 pm. Closed Mondays and national holidays. Free admission. School tours available.
All public programs are free and open to the public. Donations of $10 to support education programs are welcomed. For additional details and to RSVP for any of these public programs, please contact Glenn North at (816)474-8463, ext. 221 or for more information visit www.americanjazzmuseum.org
JAMMIN at the GEM SERIES
Bobby Watson and the 18th & Vine Big Band w/Ernie Andrews
Saturday, May 8 at 8:00 p.m.
Closing out the season "KC-style" is our town's very own 18th & Vine Big Band, led by Palmetto Recording Artist, renowned saxophonist and UMKC Director of Jazz Studies Bobby Watson. The Big Band, which features a rotating cast of some of Kansas City's best jazz musicians, will be augmented by the rich, bluesy baritone of special guest vocalist Ernie Andrews.
For tickets to any of these performances call 816-474-6262 or online at www.ticketmaster.com
Gem Theatre
1616 E. 18th St., Kansas City, MO
For information call 816.474.8463 or online at info@kcjazz.org
Auditions,
Upcoming Auditions
AMERICAN HEARTLAND THEATRE ANNOUNCES AUDITIONS FOR ITS 2010-2011 SEASON
Open auditions will be held for American Heartland Theatre's 2010-2011 Season. All auditions will be held by appointment at the theatre.
Dates are as follows:
Tuesday, April 6, 2010
2:30 - 4:30pm Acting
4:30 - 6:00pm Singing
Friday, April 9, 2010 2:30 - 4:30pm Acting
4:30 - 6:00pm Singing
Sunday, April 11, 2010
4:00 - 6:00pm Singing
6:00 - 7:30pm Acting
Acting auditions should consist of two contrasting monologues, not to exceed one minute each. Singing auditions should consist of two contrasting songs no longer than 32 bars. An accompanist will be provided.
To schedule acting and singing auditions, please call the theatre at 816-842-9999 Monday through Friday, between 10:00am and 5:00pm. The theatre is located in Crown Center at 2450 Grand Blvd., Suite 314, Kansas City, Missouri 64108. For more information on American Heartland Theatre, visit our website at www.ahtkc.com.
RSS ArtsJournal
Many thanks to ArtsJournal.com's editor, Douglas McLennan
~ Formerly an arts columnist and arts reporter with the Seattle
Post-Intelligencer and the Seattle Weekly. Doug writes on
the arts for a number of publications (in his abundant free time)
and is currently acting director of the National Arts Journalism
Program while it reinvents itself ~
*To sign up for ArtsJournal's content in newsletter form*
please click here