“The inspiration for this piece came from not really knowing what I wanted to do.”
Choreographer Kenneth Kvarnström is talking on the phone from his San Francisco hotel room about “Fragile,” the hour-long work from 2001 that his dance company is bringing to UCSB Campbell Hall on Wednesday.
“Fragile is how I felt,” he says. Since 1987, the Finnish-born but Stockholm-based Kvarnström has made it his company’s mission to produce one long work per year, and then tour the world with it.
Two roads diverged in a wood, and I-
I took the one less traveled by,
And that has made all the difference.
–Robert Frost, from “The Road Not Taken”
Choreographer William Soleau has been thinking about destiny and choice a lot this year as he puts the final touches to his four-act work “Seasons,” a world premiere for the opening of State Street Ballet’s tenth season.
“What if I had chosen another college?” Soleau asks, “What if I hadn’t met that one teacher? What if I had not fallen in love with that one girl?
“These ‘what if?’ questions are something everyone can relate to,” he says.
Lewis Black has been working himself into a humorous lather for over a decade now, either in his wildly popular standup act or as part of the “news” crew at Comedy Central’s “The Daily Show With Jon Stewart,” where he lets his anger rip every week in his segment “Back in Black.”
Whether talking politics or lambasting the idiocy of the general public, Black is right on target and very, very funny. He’s been with the show since the beginning, and has watched his profile rise in the comedy world. Now he joins his cablemate Dave Attel, the hard-drinkin’, hard smokin’ host of “Insomniac,” in a double-pronged assault on the Santa Barbara psyche at Thursday night’s show at the Arlington Theatre. Black was interviewed as he was waiting for a flight to Lebanon, N.H., for a gig. This cell phone conversation took place in the midst of crying children and a persistent tannoy speaker.
Mention people and cancer and the adjective “brave” pops up immediately. And in “Wit,” the Pulitzer Prize-winning first play from Margaret Edson, much bravery-of the theatrical kind-is on display. The playwright has decided to focus on a woman dying of cancer, spending the play in a medical center, allowing few supporting characters other than doctors, nurses, and interns. The actor (Allison Coutts-Jordan) portraying the woman Vivian Bearing, a professor in English specializing in John Donne, must achieve a delicate balance between dignity and debasement, between harshness and sentimentality. And because this terminal illness attacks such a stern taskmaster without, as we soon learn, a husband, children, friends, or loving students, the temptation for Edson to use the illness as a sort of punishment-repent, Ebenezer Scrooge!-must be resisted.
This performance, to run until Nov. 8 at SBCC’s Garvin Theater, pulls all the above off perfectly. Director Rick Mokler certainly took a chance with the play, with its many grim scenes likely to repel a number of people. Mr. Mokler also has invested in a play that relegates much of its time to a hospital bed set back in the stage. Fortunately, Ms. Coutts-Jordan handles everything with confidence-she is called on to carry the play and does so because there is no room in the character’s world for anybody else. She relishes the part and the audience is with her all the way.
Over his decade-plus career, Dennis Miller has tried to make the rant his own. Full of vitriol for targets big and small, the stand-up comedian has played a news anchor in his early days on Saturday Night Live—he pretty much made Weekend Update his own—won an Emmy for his talk show, and made a puzzling diversion as a commentator for Monday Night Football, lacing his appreciation for the games with references so dense and obscure that several Web sites sprang up to gloss his jokes.
But for some, Miller’s most drastic career move was evolving his humor slowly towards the right, with jokes about turning Iraq into glass, and scabrous comments about the French (not the rarest of targets, of course). Just last week, Miller raised the ire of Elton John, who denounced him at a charity gig from behind his piano.
There’s an attraction for directors to Christopher Durang’s “Beyond Therapy.”
Its lampooning of psychobabbling me-generation members and profundity of rude language give it an edgy surface. It’s like a coarser, more farcical Woody Allen. It’s also incredibly dated.
Mr. Durang packs his dialogue with cultural reference that may have been funny when they were fresh out the oven. Prudence, the female lead in this romantic farce, says at one point that she thinks Shaun Cassidy’s cute, but “he’s too young for me.”
Not even 20 coats of irony can save that line from disappearing into the sinkhole. Plenty of other names and pop culture-isms get dropped, from Peter Schaffer’s “Equus” to Dyan Cannon, and they hit the ground, brick-like.
A sold-out Campbell Hall crowd on Friday night got a heady dose of Twyla Tharp’s choreography as her recently regrouped (in 1999) Twyla Tharp Dance performed four works that brought Santa Barbara crowds up to date on Tharp’s most recent work, while delving back briefly for a look at Tharp’s beginnings. For relative newcomers it was a night of contrasts; for longtime aficionados, it was a confirmation of the changes Tharp has brought to modern dance.
The company is a talented, well chosen collection of dancers, all very strong by themselves, and the evening’s program introduced them to us two or three at a time, culminating with almost the entire company participating in the rousing finale. But more of that later.
“I never expected I would be dancing solo. I expected I would just be dancing with companies. I had no idea that this would grab me by the roots. One project moves me in unexpected directions, and from there the next project arises.”
Dancer, choreographer, and teacher Peggy Baker still expresses amazement at her career and where she now finds herself, despite being someone who has never settled for anything less than what she wants.
She also has never let–and is still not letting–age determine what she can do. At 51, Baker–past member of the Lar Lubovitch Company, original member of the White Oak Project, and now solo performer–is pushing the boundaries and expanding the repertoire for mature dancers. She will be performing as part of the UCSB Dance Department Faculty Concert on October 10.
When asked what will make Shu-Ying Li’s portrayal of Madame Butterfly different in the upcoming production of Opera Santa Barbara (their 24th), the soprano looks down for a few seconds, lost in thought, until surfacing with a broad smile. “Because I’m Shu-Ying!” She then bursts into a laugh, which then spreads to those around her. Miss Li knows that what she has said has made herself sound somewhat of the diva, not befitting someone just beginning a professional career.
But she also knows that its her self-confidence that has gotten her this far, thousands of miles away from her native China, along with dashes of good fortune and helping hands.
The role of Madame Butterfly is one that still goes to more non-Asian sopranos than Asian, although in recent years many able singers from China, Japan, and elsewhere have made the role their own.
Adrian Spence likes to make it easy for critics. The director and flautist for Camerata Pacifica has not only been bringing the best of small-ensemble music to Santa Barbara for 14 years now, but his love of educating the public has been spilling out more and more into his lengthy introductions to the evening’s performances.
Though his target audience is the general public, the critic can’t help but crib notes when Mr. Spence is breaking down the structure of a string quartet or trying to explicate the wonders of discord. He’s so eminently quotable that we have to keep reminding ourselves that our job is not to quote him, but to have our own honest reactions.
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