At last, we near the end of our three-week journey, ending up in the heart of Fiesta. That is, El Paseo, which, since 1922, has been the place to go for fine Mexican food and a long selection of tequilas.…
Composer Gioachino Rossini didn’t have a lot of time for stage magic. Unlike Mozart, he didn’t have time for transformations, or animals, divine messengers or the like. So it’s odd that he took on the fairiest of fairy tales in “Cinderella,” with its glass slippers and Prince Charming and all the trappings of the princess story. Rossini’s “Cinderella” (aka “La Cenerentola”) eschews fantasy for the reality of court intrigue between an impoverished maid and a prince.
David Paul is directing this Music Academy of the West production opening Thursday, and that means opera fans are in good hands regarding this material. Mr. Paul brought the Old Spanish Days-themed version of “Carmen” to the Granada last summer, and beyond trappings of the Californio costumes there was a serious rethink. Don Jose was no longer a tragic hero, but an abusive, ultimately murderous boyfriend. Rossini’s more realistic Cinderella is very much suited to Paul’s modern taste.
It's week two of our Drink of the Week march toward Fiesta! Or rather than march, call it a saunter, with glass in hand. We are keeping our focus on margaritas, that endlessly versatile drink, and the go-to cocktail for…
Ensemble Theatre Company’s season may be over for now, but it has one more surprise up its sleeve. “Tell Me On a Sunday,” which opens Thursday, is a light summer aperitif of music and song from Misty Cotton. She is performing a lesser known musical by Andrew Lloyd Webber, best known for Broadway juggernauts like “Cats” and “Phantom of the Opera.”
It’s a tale of a young English woman who comes to New York City to try to make it big.
In just under two weeks, it will be Fiesta, and already we're thinking about it ... just the drinks, of course. OK, yes, we are thinking about the dancing, but that makes us think about the parade, and that makes…
A year ago Noel Black died at age 77 in Santa Barbara.
He left behind a filmography filled with television episodes – “The Twilight Zone,” “The Baby-Sitters Club,” “Hawaii Five-O” “Kojak” – TV movies and theatrical releases, the most famous being the Anthony Perkins and Tuesday Weld vehicle “Pretty Poison” from 1966, and “Private School,” starring Phoebe Cates.
Dust off your beret and prep your poodle, because the French Festival starts today at Oak Park for two days celebrating the world of French culture.
The popular event, now in its 26th year, features food, drink, dancing, music and fun for the whole family, whether you come from a French background or just love the romance of Paris, or the taste of a good croissant.
One of the highlights of last year’s Coachella music festival was the reunion of Jurassic 5, the well loved (and six-member) hip hop outfit that was totally West Coast in all the best ways: laid back yet totally tight and in control of their craft, individually as well as a team. They had cited artistic differences when they quit in 2007, but none of that was apparent when they got back together last year. Now they’re heading to the Santa Barbara Bowl this Sunday and they recently dropped an ace new single, “The Way We Do It,” which chops up the White Stripes’ “My Doorbell” to devastating effect.
But here’s the thing: they weren’t broken up that long, only by hip-hop standards. And the new single is really from 2006, part of a set of as-yet unreleased songs produced by Heavy D just before his death.
“I remember Heavy D saying, ‘Now I wanna make a hit for you guys,'” says Marc7, one of J5’s four vocalists, along with baritone Chali2na, Akil and Zaakir. “That’s the main thing he kept saying. That particular song was one of the last sessions we did. We had already recorded four or five songs with Heavy D. And on the last day of recording, he had that beat waiting for us. And we just wrote it right then and there … It was one of those songs that was just sitting in the vault.”
The Wave is rolling toward our shores this week, a five-day, 11-film mini-film fest put on by Santa Barbara International Film Festival. Intended as a mid-year fundraiser for SBIFF, it features in its first year a focus on France and French directors, with other countries slotted for following years. So why France as the first choice?
“French cinema is very popular among our audience,” says SBIFF programmer Mickey Duzdevich, meaning Santa Barbara in general. He points to the success of the French films that screen in SBIFF’s Showcase series at Plaza de Oro every Wednesday. “Those films are the ones that sell out.” And at the last SBIFF, French films sold more tickets. Who knew Santa Barbara were such Francophiles? Quelle surprise!
When Virginia Woolf published her gender-bending, time-traveling novel “Orlando” in 1928, her contemporaries initially put it down as frivolous, a distraction from the more serious work she was writing. And so it seemed doomed for decades to not be considered alongside novels like “To the Lighthouse.” That is until Sally Potter’s 1992 film version with Tilda Swinton revealed the story to be much more than fluff. “Orlando,” in a sparkling new adaptation by playwright Sarah Ruhl, continues the ascension of this work, and it closes Elements Theater Collective’s current season, starting tonight and playing in pop-up in several locations.
“This season our theme has been gender and sexuality,” says director Mary Plant-Thomas, who is marking this production as her last before she moves to San Francisco. “So it was a very explicit choice … But I also see that the play shares other core ideas with our plays, like time travel. I think that’s less a choice and more that we really value choosing new works that are also accessible.”