A Memorable Recital

Attending the Ensemble for These Times’ (E4TT) “Émigrés & Exiles in Hollywood” recital on Saturday, June 15 was both enjoyable and memorable. The performance highlighted the cultural contributions of émigré and exile composers in Hollywood, providing a fascinating glimpse into their musical legacies.

The program featured works by composers who fled Europe during the early 20th century and settled in Hollywood. E4TT’s selection of pieces was both thoughtful and engaging, offering the audience a mix of well-known and lesser-known compositions.

Chelsea Hollow (coloratura soprano), Margaret Halbig (piano), and Abigail Monroe (cello) delivered solid performances. Hollow’s vocal delivery was expressive, Halbig’s piano accompaniment was precise and supportive, and Monroe’s cello playing added a rich, resonant layer to the ensemble, enhancing the overall texture and emotional depth of the performance.

 

Chelsea is known for her “soaring high range” and versatile voice, having premiered new works including Jake Heggie’s “Here/After” and pieces by other contemporary composers. Her dynamic performances have captivated audiences, earning her recognition and accolades in multiple languages and genres​ (SFCV)​.

 

 

 

 

Margaret is a highly sought-after collaborative pianist and coach. She is a faculty member at the San Francisco Conservatory of Music and has performed extensively in chamber music and contemporary classical settings. Halbig’s refined technique and interpretive skills make her a valuable asset to E4TT​ (SFCV)​.

 

 

 

 

Abigail is an accomplished cellist and Social Media Assistant for Ensemble for These Times. She holds a Bachelor’s degree from the San Francisco Conservatory of Music and has performed extensively as a soloist, chamber musician, and with large ensembles. As winner of the Jackie McGehee Young Artists Competition in 2019, she was also featured as a cello soloist performing Elgar’s Cello Concerto with the New Mexico Philharmonic​ (SFCV)​​(Ensemble for These Times)​.

 

The evening program included:

• Erich Wolfgang Korngold (1897-1957)
  • Serenade (1910) (Cello/Piano)
  • Tanzlied des Pierrot (1919)
• Kurt Weill (1950-59)
  • Nanna’s Lied (1939) (Soprano/Piano)
  • Youkali (1935) (Soprano/Piano)
• Miklós Rózsa (1907-1995)
  • Kaleidoscope (1946)
    1. March
    2. Hirten Melodie (Piano)
• Eric Zeisl (1905-1959)
  • November (1937-38)
• Eugene Zádor (1894-1977)
  • Romance (1921) (Cello/Piano)
  • Bagatellen en Jazz (1933) (Piano)
• Arnold Schoenberg (1871-1951)
  • Brettl Lieder (1901) (Soprano/Piano)
    1. Galathea
    2. Gigerlette
    3. Der genügsame Liebhaber
    4. Einfältiges Lied
    5. Mahnung
    6. Jedem das Seine
    7. Langsamer Walzer

Notable pieces included those by Erich Wolfgang Korngold and Arnold Schoenberg. Korngold’s rich harmonies and Schoenberg’s distinctive atonal style were performed with sensitivity and attention to detail, highlighting the unique contributions of each composer.

The performance also included brief commentary that provided context for the music, enhancing the audience’s understanding and appreciation of the works. This added a valuable educational dimension to the recital.

For those who missed the live performance, a recording of the concert is available on YouTube, providing an opportunity to experience the exceptional artistry and historical significance of the program.

Overall, the Ensemble for These Times’ “Émigrés & Exiles in Hollywood” recital was a fitting tribute to the resilience and creativity of these composers. It was an evening of noteworthy music that honored their artistic contributions and offered a compelling musical experience. E4TT’s dedication to preserving and performing these works is commendable, and I look forward to their future programs.

For more details and to view the ensemble’s upcoming events, visit their official website​ (Ensemble for These Times)​​(Ensemble for These Times)​​ (Ensemble for These Times)​.

 

Hilarious Farce “Lend Me a Tenor” Delights at Sonoma Arts Live

Sonoma Arts Live once again shows its ability to deliver top-notch theater with its latest production, Ken Ludwig’s “Lend Me a Tenor”. Running from June 6 – 16, 2024, at the Rotary Stage in Andrews Hall, this comedy is a must-see for theater lovers seeking an evening of laughter and entertainment.

Set in 1934, “Lend Me a Tenor” plunges audiences into the chaotic world of the Cleveland Grand Opera Company on the eve of a crucial performance. The story unfolds with the sudden incapacitation of the great Tito Merelli, a world-renowned tenor played brilliantly by Michael Cory Murdoch, who was expected to revive his iconic role in “Pagliacci”. The ensuing mayhem, driven by an ensemble cast of vividly portrayed characters, is a rollercoaster of hilarity and high-energy antics.

Director Larry Williams, acclaimed for his previous work on “The 39 Steps”, once again demonstrates his exceptional ability to navigate the complex demands of farce. His direction ensures the fast-paced, door-slamming action never misses a beat. John Browning’s portrayal of Saunders, the harried General Manager, and Robert Nelson’s endearing performance as Max, his beleaguered assistant, anchor the production with impeccable comedic timing.

Katie Kelley shines as Max’s girlfriend, Maggie, bringing a charming mix of innocence and enthusiasm to the role. The fiery dynamic between Tito Merelli and his wife Maria, portrayed with gusto by Tika Moon, adds another layer of comic brilliance. The supporting cast, including Kim Williams as the flirtatious Julia, Tara Roberts as the ambitious Diana, and Kevin Allen as the beleaguered bellhop, round out a superb ensemble that keeps the audience in stitches.

Opening night was made even more special by a delightful reception featuring local opera singers, whose performances of several pieces set the perfect tone for the evening.

Sonoma Arts Live has crafted an evening that combines technical excellence, a stellar cast, and side-splitting humor. This production is a testament to the great work being done by this community-based theater company, showcasing its dedication to bringing high-quality, entertaining performances to the local community. “Lend Me a Tenor” is a theatrical gem that provides a fun-filled and enjoyable night at the theater.

For ticket information, visit sonomaartslive.org.

A Brilliant Satirical Look Behind the Curtain of American Theater

Shotgun Players’ latest production, “Best Available,” offers an incisive and darkly humorous exploration of the complex interplay between capitalism and the non-profit model of American theater. Written by the brilliant Jonathan Spector and directed by the innovative Jon Tracy, this play is a must-see for anyone who loves theater and enjoys thought-provoking narratives.

“Best Available” centers around Maya, a former Associate Artistic Director, who is reluctantly convinced to return to her old theater to bring about much-needed change. The story exposes the often-hidden power dynamics and challenges within the theater world, making it both a compelling and relatable experience. As the plot unfolds, we witness Maya’s journey through the political minefield of theater management, filled with witty dialogue and sharp social commentary.

The cast delivers outstanding performances, with each actor bringing depth and nuance to their roles. Sarah Mitchell, Regina Morones, Denise Tyrrell, linda maria girón, Austine De Los Santos, Storm White, Steve Price, and Dave Maier create a dynamic ensemble that captivates the audience from start to finish. Their portrayal of the various stakeholders within the theater industry is both realistic and engaging, highlighting the diverse perspectives and tensions that exist behind the scenes.

One particularly clever aspect of this production is the rotating stage, which adds a dynamic and visually engaging element to the performance. This innovative staging not only enhances the visual appeal but also symbolizes the constantly shifting power dynamics and perspectives within the theater world. The rotating stage keeps the audience on their toes, reflecting the ever-changing landscape of the narrative.

Jon Tracy’s direction is impeccable, seamlessly blending humor and drama to create a production that is as entertaining as it is thought-provoking. The set design by Nina Ball, along with Ben Euphrat’s video projections and sound design, enhances the immersive experience, making “Best Available” a visual and auditory delight.

One of the standout features of this production is its ability to provoke reflection on the broader implications of its narrative. The play’s exploration of the question “Who owns the theater?” resonates deeply, encouraging the audience to consider the roles and responsibilities of various stakeholders in the arts. This is a play for anyone who loves theater, even as they may feel conflicted about the industry’s inner workings.

Shotgun Players’ commitment to accessibility is also commendable. With initiatives like pay-what-you-can previews, community tickets, and performances tailored for blind and low-vision patrons, they ensure that this important work is accessible to a wide audience.

“Best Available” is a triumph, offering a powerful and thought-provoking theatrical experience. Shotgun Players have once again proven why they are a cornerstone of the Bay Area theater community. I highly recommend this production to anyone seeking a brilliant and insightful exploration of the American theater industry.

Steve Budd at The Marsh Berkeley

I had the delight of attending Steve Budd’s latest solo performance, “Seeing Stars,” at The Marsh Berkeley, and it was an exceptional experience that I wholeheartedly recommend. Running from June 1 to July 13, 2024, this 60-minute show airs every Saturday at 5 pm and engages the audience from start to finish.

Heartfelt and Hilarious

From the moment Steve Budd stepped onto the stage, I was drawn into the world of his 31-year-old self, who finds himself moving back in with his parents. The story takes an unexpected turn as Steve’s gruff and distant father undergoes a surprising transformation, leading to a rollercoaster of emotions and unexpected twists. The performance starts slowly but comes alive with this telling. Budd’s impeccable storytelling and comedic timing made the exploration of such serious themes both heartfelt and hilarious.

Masterful Performance

Budd’s performance was nothing short of masterful. His ability to switch between characters seamlessly and his authentic portrayal of complex emotions kept me engaged and deeply invested in the story. It’s clear that his background as an award-winning solo performer shines through in “Seeing Stars,” a true testament to his talent and dedication to the craft.

Directed by Mark Kenward

The direction by Mark Kenward ensured a smooth and captivating narrative flow. Kenward’s experience and insight into solo performances were evident in the way he guided Budd, allowing his natural charisma and storytelling prowess to take center stage. I also appreciated the work of stage manager Aaron Aguilar, who ensured every aspect of the performance ran flawlessly.

About Steve Budd

For those unfamiliar with Steve Budd, he is an actor, writer, and storyteller based in Oakland, California. With a rich training background from The Marsh and The Groundlings in L.A., Budd brings a wealth of experience to the stage. His previous solo show, “What They Said About Love,” was a huge success, running for three months at The Marsh in 2018 and earning a spot as one of Theatre Bay Area’s Top 5 Solo Shows.

Engage with The Marsh

If you’re looking to engage more with The Marsh Berkeley and Steve Budd’s work, follow them on social media:

• Facebook
• Instagram
• Twitter

For more information and tickets, visit The Marsh’s website.

Conclusion

“Seeing Stars” is a must-see show that combines humor, heart, and a deep exploration of familial relationships. Steve Budd’s performance is a masterclass in solo storytelling, making this a standout production at The Marsh Berkeley. Don’t miss your chance to experience this remarkable ride through the highs and lows of family life.

The Berkeley Playhouse continues to dazzle with its latest production, “Head Over Heels,” a rollicking musical that marries the 16th-century pastoral romance with the infectious pop rock sound of The Go-Go’s. This high-energy show, running from May 24 to June 30, 2024, is a must-see for anyone seeking a fun, heartwarming theater experience.

“Head Over Heels” tells the story of a royal family on a quest to restore their kingdom’s lost “beat,” exploring themes of love, friendship, gender, and sexuality along the way. The original book by Jeff Whitty and adaptation by James Magruder offer a witty, modern twist on the classic narrative, while the music and lyrics by The Go-Go’s infuse the show with an 80s flair that is both nostalgic and invigorating.

Under the masterful direction of Mel Martinez, the cast brings this vibrant world to life with remarkable talent and infectious enthusiasm. Jessica Coker shines as Queen Gynecia, delivering a performance that is both regal and deeply human. DC Scarpelli’s portrayal of King Basilius is equally compelling, balancing humor and pathos with ease. Jacqueline Dennis as Philoclea and Jas Cook as Pamela bring depth and charm to their roles as the royal daughters, each on their own journey of self-discovery.

The standout performances don’t stop there. Milo Boland as Musidorus and Melinda Campero as Mopsa are captivating in their roles, bringing both comedic timing and emotional resonance to their characters. B Noel Thomas as Pythio, the oracle, adds a mystical and dynamic presence that ties the story together.

Choreographer Kevin Gruwell and Music Director Michael Patrick Wiles deserve special mention for their work. Gruwell’s choreography is lively and inventive, perfectly capturing the spirit of The Go-Go’s music, while Wiles ensures that the musical numbers are both polished and heartfelt. Songs like “We Got the Beat,” “Our Lips Are Sealed,” and “Vacation” are cleverly woven into the narrative, enhancing the story without overshadowing it.

The set and costume design further elevate the production, transporting the audience to a whimsical, yet relatable, world where old meets new. The creative team’s attention to detail is evident in every aspect, from the colorful costumes to the imaginative set pieces.

“Head Over Heels” is more than just a fun night out at the theater; it’s a celebration of self-acceptance and the courage to be true to oneself. As Director Mel Martinez aptly puts it, “To speak your truth is scary, but when you are truly yourself, everything looks better—even tastes better! It’s like being in love.”

Performances run Friday through Sunday, with select weekday evenings. For tickets or more information, visit berkeleyplayhouse.org. Don’t miss this chance to experience a show that is as thought-provoking as it is entertaining. “Head Over Heels” at Berkeley Playhouse is a triumph that will leave you tapping your feet and reflecting on the journey of self-discovery long after the final curtain falls.

 

A Heartfelt Production with Humor and Depth

The Marin Theatre rendition of Harvey Fierstein’s “Torch Song” is a well-crafted and engaging production. Directed by Evren Odcikin, this adaptation of the “Torch Song Trilogy” captures the spirit of the original while offering a fresh take that feels both current and resonant.

Dean Linnard’s performance as Arnold Beckoff is truly exceptional. Linnard embodies the character with remarkable depth and authenticity, seamlessly transitioning between moments of biting humor and profound vulnerability. His portrayal captures the multifaceted nature of Arnold, making him both relatable and deeply compelling. Linnard’s nuanced performance anchors the production, drawing the audience into Arnold’s journey with a captivating blend of charisma and emotional resonance. He is also very funny at times, delivering lines with impeccable timing and a sharp wit that keeps the audience laughing.

The supporting cast enhances the production with strong performances. Nancy Carlin, as Arnold’s mother, skillfully portrays the complex mix of disapproval and deep affection that defines their relationship. Her interactions with Linnard are particularly compelling, adding depth to the story’s exploration of familial bonds.

Patrick Andrew Jones and Kina Kantor, playing Ed and Laurel, provide solid support with authentic portrayals of their characters’ relationships with Arnold. Edric Young’s role as Alan injects a sense of hope and optimism, while Joe Ayers, as David, brings an intensity that highlights the more serious themes of the play.

Odcikin’s direction ensures a well-paced performance, blending comedic and dramatic moments effectively. The production design, including contributions from Sarah Phykitt (set design), Ray Oppenheimer (lighting design), Lana Palmer (sound design), and Jessie Amoroso (costume design), creates a visually appealing and immersive experience that captures the essence of 1970s and 80s New York.

The strength of this production lies in its ability to balance lighthearted humor with heartfelt moments. The dialogue is sharp and often funny, while the play’s more serious themes are handled with care and sensitivity. The exploration of love, identity, and acceptance feels as relevant today as ever.

In its condensed format, “Torch Song” retains the emotional impact of the original trilogy. This Marin Theatre Company production respects Fierstein’s work while bringing a fresh perspective that speaks to contemporary audiences. It is a compelling show that will appeal to both longtime fans and those new to the story.

In summary, Marin Theatre’s “Torch Song” is a strong production with excellent performances, thoughtful direction, and a well-executed blend of humor and depth. It offers a powerful reminder of the enduring need for acceptance and the timeless quest for love. This production is well worth seeing.

Artificial Imagination: How AI is Redefining Creativity

Introduction
In the realm of creativity, a profound shift is underway. Artificial Intelligence (AI) is no longer just a tool for automating mundane tasks; it has started to play a significant role in artistic and creative processes. From painting and music composition to writing and digital design, AI technologies are transforming the landscape of creative industries, challenging our traditional notions of art and the artist.

The Creative Collaboration
The integration of AI into the creative sectors is not about replacing artists but enhancing their capabilities. Consider the world of digital art, where AI algorithms now assist artists by suggesting variations and iterations that would take humans much longer to conceive. This partnership between human and machine enables artists to explore new artistic territories and push the boundaries of traditional media.

In the music industry, AI is used to analyze trends and styles to generate compositions that are both novel and familiar, striking a balance that appeals to both producers and audiences. These tools are not just labor-saving devices; they provide artists with a starting point for their own creative input, accelerating the creative process and enriching the final product.

Democratizing Creativity
One of the most significant impacts of AI in the creative world is its potential to democratize creation. Advanced software platforms that incorporate AI are now accessible to amateurs and professionals alike, leveling the playing field. For instance, AI-driven graphic design tools can suggest layouts, color schemes, and typography, enabling users with minimal design experience to produce work of professional quality. This accessibility is transforming hobbyists into creators, opening up avenues for innovation and expression that were previously gated by skill level or resource access.

AI as an Autonomous Agent
As AI technology continues to evolve, we are witnessing the rise of machines not just as tools but as creators in their own right. AI-generated artworks are beginning to populate galleries, some fetching hefty sums at prestigious auctions. These creations challenge our perception of art and raise questions about creativity’s origins—can a machine be creative, or is it merely simulating creativity based on algorithms and data?

The notion of an AI “artist” also sparks a debate around authorship and originality. As machines create art that resonates with human audiences, the lines between human-made and machine-generated are blurring, leading to both excitement and existential questions within the creative community.

Future Prospects and Ethical Considerations
Looking forward, the role of AI in creativity is poised to expand. With advancements in technology, AI could soon offer more personalized and emotionally aware creations, potentially writing books or composing music that cater to the emotional states or tastes of individual users. However, this future also necessitates a careful consideration of ethical issues. As AI takes on more creative work, questions about intellectual property, the value of human artistry, and the transparency of AI processes become increasingly pertinent.

Moreover, as we delegate more creative tasks to machines, we must consider the impact on human creativity. Will AI stifle human creativity, or will it spur us to new heights by freeing us from repetitive tasks and opening new paths for innovation?

Conclusion
AI’s integration into the creative industries is a testament to the evolving relationship between humans and machines. Far from the dystopian views that machines might replace us, the reality is shaping up to be much more collaborative and transformative. As we navigate this new landscape, the challenge will be to harness AI’s potential responsibly while fostering human creativity, ensuring that we maintain the essence of what makes art profoundly human.