For me, there are few things more rewarding than losing myself in the lively action and joyous laughter of a well-staged, well-crafted play. When done right, an enjoyable play can make the troubles and anxieties of the everyday just melt away. Right now, Indiana University Summer Theater gives not one but two opportunities to forget our cares and throw ourselves into another world with Shakespeare’s Love’s Labour’s Lost and Jane Austen’s Persuasion (adapted for the stage by Jennifer LeBlanc).
During the month of July, Indiana University Summer Theater presents two shows in the repertory style. Typically during the school year, productions are staged one at a time allowing the actors, directors, and assistants to focus on one individual production before moving on to another. Each production typically features a unique cast, crew, staging, and scenery. Repertory theater, on the other hand, is a form of theater where the cast and crew keep a stock or repertoire of shows prepped and always ready for performance.
For IU’s summer theater, this means that one group of actors prepares two different shows, and they alternate performing one then the other for three weeks. The audience may only be vaguely aware that something is a little different. They have the opportunity to see a wider variety of plays in a shorter amount of time. Sometimes they can see two different plays in one day. Audiences may also notice familiar faces as the actors from yesterday’s Love’s Labour’s Lost perform in today’s Persuasion. Read more →
After seeing a new play, I like to give myself a little time to digest the piece. I do not like knee-jerk reactions. They are usually shallow and oversimplified. Instead, I like to give myself a little time to let the play work on me. I go about doing other things (yard work, painting, hanging out with the family, etc) while in the background my brain processes and finds meaning. Usually, I uncover a richness in the play that I did not see right away. Sometimes the flaws of the play become more visible. Either way, I know I can expect, after time, for the play to start to make some sort of sense to me. I start to “get it.”
Well, it has been almost 36 hours since I have seen Happily After Ever, Bloomington Playwrights Project’s newest production, and I find myself no closer to “getting it” than when the house lights went up after the show. This is not to say it is incomprehensible. In fact, I understand what the play attempts to do from a theater critic mindset. I also found some of the depictions to be not only stimulating but also relevant. Yet, I think I am getting ahead of myself. It’s easy to do with a play as confusing as this one. Read more →
On Thursday, April 13, the Indiana University Department of Theater, Drama, and Contemporary Dance inaugurated the creation of the George Pinney Scholarship with a special pre-opening, fundraiser performance of The Drowsy Chaperone. Honestly, I think there is no better musical to honor a person who has dedicated his life and talents to the enrichment of musical theater. The Drowsy Chaperone is a love-letter to the musical theater genre that both pokes fun at the ridiculous and celebrates the joyful aspects of musical theater.
The play features Man in the Chair, an older man who sits in his apartment listening to the records…yes, records…of his favorite musical, The Drowsy Chaperone. Man in the Chair is the audience’s guide to the play within the play. As he listens, he extols on the history of the actors, the experience of going to the theater, the strengths and weaknesses of this particular show, and the wonders and benefits of musical theater. Pinney, himself, played The Man in the Chair in IU’s production, and the role was a perfect tribute. Read more →
Once again, the Bloomington Symphony Orchestra is changing up the way we think about symphonic music. Their most recent show, Scene Change: Untold Musical Stories of Latin America was a lush celebration of the numerous riches contained in the archives of the Latin American Music Center (LAMC) and Indiana University’s Jacobs School of Music.
The collaboration between the BSO and the LAMC created a beautiful program that changed the way I understood Latin Music. I will admit that I know little about Latin symphonic music. Like most people, I tend to associate the term Latin American music with the traditional street or dance music that surrounded me when I would visit places like San Antonio. I envisioned stereotypes like mariachis and salsa dancers, but instead I got a night of wonderfully unique and diverse symphonic orchestrations that ranged from the classical (Bachianas by Adolfo Mejia) to the experimental (Introduccion y Allegro Concertante, Op. 117 by Juan Orrego-Salas) all created and performed with the passion and energy of Latin America.
The main event of the evening was, of course, the world premiere of Juan Orrego-Salas’s Ash Wednesday. Originally written in 1989, Salas’s composition has never been performed before a live audience due to a number of mishaps, but at the age of 98, Salas was finally able to hear his lovely work performed while surrounded by family and friends.
Salas based this composition on T.S. Eliot’s poem of the same name. Written when Eliot was older, Ash Wednesday is a contemplative poem about the nature of faith and belief. Eliot expresses his desires to put his doubt aside and become a true believer through introspective and metaphysical poetic prose for which he is famous. Salas combined selections of the poem with musical orchestration to explore the depths of doubt, the transcendence of faith, and the individual’s struggle to sublimate one to achieve the other. The result was haunting, moving, and beautiful.
Prior to song’s first performance, Tony Brewer, chair of the Writer’s Guild at Bloomington, took the stage to read a selection from Eliot’s poem. Poetry itself is meant to be heard not just read, so I really enjoyed this part of the show. I love hearing poetry read out loud. Not only did it allow the audience to hear the music present in the original words, but it also gave us the ability to compare the original to Salas’s composition.
The BSO’s performance of the piece was really lovely. Soprano Alejandra Martinez accompanied the BSO, singing Eliot’s words beautifully despite the obvious difficulty of the piece. Martinez, who had joined the BSO in the fall of 2016 for their opera showcase, sang with such emotion and expression that I couldn’t help but tear up a little. Her voice, along with the orchestra’s energetic performance, made Eliot’s poem even more impactful. I could hear the speaker’s struggle with doubt in the looming threat of the low brass, the flittering promise of happiness through faith in flutes and strings, and the speaker’s struggles find her place in the middle of all this noise surrounding her.
At the completion of the piece, the audience wildly applauded as the BSO presented Salas with a lovely bouquet of flowers. He stood and waved. I was not very far away from Salas; his happiness was practically radiating from him. It was such a special night for Salas, and it was such a special night for all of us that got to celebrate it with him.
Overall, Scene Change was another fantastic example of both the BSO’s commitment to music excellence, especially considering the difficulty of the program. According to Donna Lafferty, Executive Director and orchestra trombonist, not only were these pieces completely new to all of the musicians, but they were also some of the most difficult pieces they have ever had to prepare. The audience could tell, though, that this concert was a labor of love for all involved, and the richness of the program once again exemplified the BSO’s deep commitment to celebrating the cultural treasures of the Bloomington community.
You can experience the excitement and richness of the BSO at their next performance Beasts Among Us on Sunday April 2 at Bloomington High School South. This is a free concert featuring such beastly classics at Peter and the Wolf and The Firebird Suite. The concert will also include a lovely cello performance by Ethan Murphey, this year’s Youth Concerto second place winner.
Shakespeare’s The Tempest has always been a favorite of mine both as a lover of plays and as a teacher of dramatic literature. Why? That’s easy. It’s full of beauty and magic. Prospero brings to life an “insubstantial pageant” in which he creates “the cloud-capped towers, the gorgeous palaces, the solemn temples, the great globe itself.” He is the playwright of his own performance, and this performative layering utilizes and embodies the magic of theater in ways that Shakespeare excels over the majority of other playwrights. By tapping into new art forms and technologies, the IU Department of Theatre and Drama delivered the beauty, artistry, and magic I would expect…nay…demand of a production of The Tempest. Read more →
Last week, Limestone Post published a preview piece about The Legend of Georgia McBride by yours truly. While writing, I could barely contain my giddiness about the show. I was so excited that part of me worried the production could never live up to my expectations. We have all had that experience. After waiting weeks for that 5-star meal or that video game sequel, you have the meal or play the game. While it’s good, it just doesn’t live up to your grandiose expectations. So there I was Friday afternoon, fretting that perhaps I had oversold this performance in my article and in my own imagination.
But every once in a while, we have the exact opposite experience. We work ourselves up into a tizzy with excitement, and then the reality of the thing is so much better than we ever could imagine. The Legend of Georgia McBride did that for me. It gave me everything I wanted from a play about drag: shade, puns, glamour heart, strength, rebellion, and laughs galore!
We have all heard the phrase, “Those who cannot remember the past are condemned to repeat it.” Philosopher George Satayana’s oft-quoted (and oft-misquoted) phrase has become so cliché and so overused that it is both overflowing with and devoid of meaning, yet it is one writers, philosophers, and politicians all like to use to emphasize the need for remembering. Forgetting the past hinders our progress toward a “more perfect” future, but can the process of remembering do the same thing? Do our reconstructions of history replace the lived reality of historical event? Can remembering also condemn us to repeating the past?
My mind has been full of questions like these since seeing the Bloomington Playwrights Project’s production of Row After Row this past weekend. Row After Row is a short play (run time of 1hr and 10mins), but a lot of funny jokes, character development, and historical layering occurs during that short time. The play takes a close look at the world of modern day Civil War reenactments. As someone who loves performance, I have always been intrigued by the men and women that dedicate numerous hours and an insane amount of money to participating in this large-scale performance, and this play provide a nice little glimpse into that world. Read more →
Yesterday morning, I woke up from the strangest dream. There I was watching a performance of Tchaikovsky’s The Nutcracker when a monstrous Krampus with curled horns danced onstage to punish that mean older brother, Fritz, for torturing his poor, little sister, Clara, with a dead mouse and breaking her beloved nutcracker. The Krampus grabs him by the ear and gives him a good swat with a switch before sending him off to bed. Clara is shocked and a little scared by the monster standing in front of her, but he gently takes her hand and leads her to the land of sweets, where he accompanies the Sugar Plum Fairy in a moving and graceful dance. As the audience gave its standing ovation, I woke up thinking, “What the hell…?”
I shouldn’t have been too surprised because the night before I got a good dose of both thanks to Bloomington’s Krampus Night and Indiana University’s production of The Nutcracker. The movement from one to the other may seem like an insane culture shock, but I see it as a representation of the huge variety of performance events Bloomington has to offer. The drastic differences in the two highlight the fun and artistry in each. Whereas, Krampus night was a fire-breathing, light-flashing, scream-inducing, monster-filled extravaganza, The Nutcracker was a magic-inducing, breath-taking, awe-inspiring tutu-filled creation that made my heart race just as face as when a Krampus lunged toward me and roared. Read more →
Last night at the opening performance of Monroe County Civic Theater’s Christmas extravaganza It’s a Wonderful Life, I got a prime example of why I love Bloomington performing arts: it creates a sense of community. MCCT teamed up with Sherwood Oaks Christian Church to bring to the stage a Christmas classic that celebrates the love and support found in a close knit community. It’s a Wonderful Life is not just the story of George Bailey’s struggle, loss of faith, and ultimate recognition of his worth, but also it is a story of a community that comes together to help each other in times of crisis and to revel with each other in times of celebration. As much as George’s absence affects the health and well-being of Bedford Falls, the town itself affected the man George became.
Similarly, the MCCT production brought together various groups and individuals from the community to build a wonderful experience for all. Read more →
For the first time in the short history of Bravo, Bloomington!, I got an unprompted invitation to come see and write about a show. This felt great! I had previously decided that due to an overly-full schedule and an overly-empty pocket book I was probably not going to be able to see IU’s JCS. The invitation and the free ticket excited me beyond all measure.
From as early as I can remember, Jesus Christ Superstar has been my favorite musical of all time. I blame my mother. She had the original cast recording from 1970 on vinyl. Even as a little girl, I’d get all giddy when I saw her going to our record collection hoping beyond hope that I would get to hear the combination of trippy guitar solos and screaming rock vocals. I’d bug her incessantly until she would finally just give in and let me listen. I would jump and dance around the house belting out every word. I didn’t (don’t) just sing along with JCS; I embody, embrace it. I get so consumed by the music and lyrics that I can’t do much else (I can’t even write a review of JCS while listening to JCS because I’d rather just sing along). Read more →