Santa Fe Reporter - Theater & Stage Reviews http://www.sfreporter.com/santafe/articles.sec-22-1-theater-stage-reviews.html <![CDATA[A Midsummer’s Midsummer - Side notes on a well-known Shakespearean comedy]]>
By: Matthew Irwin
As a side note and perhaps to explain his decision to let his actors use their own voices in the Santa Fe Shakespeare Society production of A Midsummer Night’s Dream, director Jerry Ferraccio says t]]>
<![CDATA[Picking at the bones of industry - Other People’s Money appeals to hearts and wallets]]>
By: Matthew Irwin
Director Ron Bloomberg leans over to me at a recent rehearsal for the Santa Fe Playhouse production of Other People’s Money, and says, “This is one of the first plays to address vulture capitalism]]>
<![CDATA[Company’s out for summer - Dance performance strives to push the boundaries of, well, dance]]>
By: Matthew Irwin
Arcos Dance artistic director Curtis Uhlemann describes the scene for “46 Thousand,” a piece he choreographed with his co-director Erica Gionfriddo: The scaffolds are black, the dancers wear black (their hair down) and musician Andy Primm sits above them with his drum kit, playing a piece inspired by the John Bonham solo “Bonzo’s Montreux.”
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<![CDATA[The Performance Community - The Peñasco Theatre builds community on the High Road]]>
By: Matthew Irwin
From the street-side of The Peñasco Theatre, where a folksy mural tells of people building their community together, the theatre’s owner Alessandra Ogren walks me to the north side of the building where a new mural by Rebeka Tarín and Amaryllis de Jesus Moleski offers a meta-response to images on the front, mixing folk iconography with urban-contemporary references.]]>
<![CDATA[Love Rocks - Musical reintroduces the anarchist Emma Goldman]]>
By: Matthew Irwin
Love & Emma Goldman: A Rock Opera is about the enduring human voice. The original production by Sarah-Jane Moody and Jeremy Bleich (aka the experimental pop duo GoGoSnapRadio) is also about taking action for one’s beliefs. It’s about violence, justice, freedom and love. It’s about Emma Goldman, the turn-of-the-century anarchist who spoke up, was deported and disappeared into history.]]>
<![CDATA[Chasing Fortune - The absurdity of just pursuits in Teatro Paraguas’ Fortunato]]>
By: Matthew Irwin
The cast is rehearsing the last scene of Fortunato when I arrive at Teatro Paraguas’ new location, a few units down from its old black-box space in the Agua Fría Village. They’re having trouble finding momentum. Lines are forgotten. Props are dropped. Cues are missed. And the scene comes to a halt when actor Marcos Maez leans against a giant target, only to have it collapse behind him with a rattling crash and the sound of glass breaking.]]>
<![CDATA[Oil and Water - Nonparticipatory resistance against corporate domination]]>
By: Matthew Irwin
I caused the 2010 BP oil spill in the Gulf of Mexico. This is my conclusion after speaking with Argos MacCallum of Teatro Paraguas about the company’s reading of The Way of Water, Caridad Svich’s play about four people affected by said disaster. ]]>
<![CDATA[Worlds Within Words - Theaterwork realizes the works and lives of four women poets]]>
By: Matthew Irwin
David Olson’s mother and grandmother were poets. At dinner, Olson’s father, a Swedish immigrant, would leave a line of poetry under a dinner plate for Olson or one of his siblings to discover and ]]>
<![CDATA[Contemporaneous Celebrations - Wake up and happy birthday, music scene!]]>
By: John Stege
Santa Fe’s contemporary music scene awakens from semi-hibernation with two important concerts this week. And they’re all about anniversaries.]]>
<![CDATA[Through the Lens - Lensic affiliates share their views]]>
By: Rani Molla
The Lensic theater space turns 80 this year and simultaneously celebrates 10 years since it became the nonprofit Lensic Performing Arts Center. The Lensic marks this milestone with the same varied arsenal of events it has wielded throughout its history.]]>
<![CDATA[Right on the Money - SFO and SFCMF wrap up their seasons on high notes]]>
By: John Stege
When audiences hum happily out of The Crosby Theatre after, say, a jolly evening with Albert Herring, or when they linger cheerily outside St. Francis Auditorium after, say, a rousing reading of Mendelssohn’s Octet, their immediate concerns probably aren’t dollars and cents.]]>
<![CDATA[Joy Ride - SFCMF's season departs with finesse and cheer]]>
By: John Stege
The music stops, the audience jumps up, claps like mad, bravos crazily, whistles (don’t try this in France) and stomps its collective foot. That’s a standing ovation. That’s what met Yuja Wang as she rose from the piano after her demonic Aug. 17 noon recital.]]>
<![CDATA[Battle Royal - SFCMF's season is full of co-commissions and world premieres]]>
By: John Stege
Cagey, brilliant composer-critic Virgil Thomson commented, “Criticism joins the history of its art only when it joins battle, for or against, with the music of its time.” Well, opportunities galore for battling with music of our time popped up in recent programs at the Santa Fe Chamber Music Festival.]]>
<![CDATA[Any Haydn Sunday - SFCMF has gotten bigger and better-dressed]]>
By: John Stege
Ever since the Santa Fe Chamber Music Festival’s first season, those Sunday-evening concerts have been special. Back in 1973, six Sunday-evening programs were it, period, for festivalgoers. As time passed and plans grew, so did the number of concerts. Nowadays, that Sunday program gets a reprise on Monday evening, joined by plenty of other events scattered over the rest of the week.]]>
<![CDATA[Well-Fed Herring - Albert Herring is stuffed to the gills with good cheer]]>
By: John Stege
Comic opera hasn’t thrived over the last several dismal decades. Composers prefer to work the dark side. But fast-backward to July 1947 and the premieres of two comic survivors: Poulenc’s Les Mamelles de Tirésias and Britten’s Albert Herring, which opened July 26 at the Santa Fe Opera.]]>
<![CDATA[Das Musik - SFCMF's exceptions are as good as the rule]]>
By: John Stege
“Chamber music” can be an evasive term. Definitions tend to be slippery. Strict constructionists exclude the solo piano. Goodbye, too, to many of Mozart’s serenades and divertimenti; they’re meant for the outdoors.]]>
<![CDATA[Do It for Dvorák - Amid a mixed week, a trio takes the lead.]]>
By: John Stege
A touch of glamour opened the Santa Fe Chamber Music Festival’s 38th season at St. Francis Auditorium last week, personified in Susan Graham, the festival’s first artist-in-residence, and Jake Heggie, the hot youngish composer whose operatic ventures have been popular success stories recently.]]>
<![CDATA[Thank Heaven - SFO persists to take risks, thanks to its new-music policy]]>
By: John Stege
If the Santa Fe Opera ever gets to heaven, and it surely shall, one of the reasons will be its obstinate policy of producing—grandly and expensively—new, challenging, important and sometimes awful operas of our time.]]>
<![CDATA[Hell is Other Operas - SFO's Hoffmann delivers a devilishly good spectacle]]>
By: John Stege
If you’re feeling bewitched, bothered and bewildered when you come away from the Santa Fe Opera’s astonishing new production of Jacques Offenbach’s Les Contes d’Hoffmann, don’t worry—you’re in good company.]]>
<![CDATA[Lucky 13 - The odds look good for SFCMF's 13th season]]>
By: John Stege
A lucky 13th on the horizon? That might be Marc Neikrug’s upcoming 13th season as artistic director of the Santa Fe Chamber Music Festival, a role he’s filled since 1998]]>