Welcome to Artcetera. Arts-and-entertainment writers and critics post movie news, concert updates, people items, video, photos and more. Share your views. Check it daily. Remain in the know. Contributors: Mary Abbe, Aimee Blanchette, Jon Bream, Tim Campbell, Colin Covert, Laurie Hertzel, Tom Horgen, Neal Justin, Claude Peck, Rohan Preston, Chris Riemenschneider, Graydon Royce, Randy Salas and Kristin Tillotson.
Women composers remain almost entirely unrepresented in the concert programs of major U.S. orchestras, including the Minnesota Orchestra.
That is among findings of a new study by a writer attached to the Baltimore Symphony Orchestra. Ricky O'Bannon pooled the 2014-15 classical concert seasons of 21 orchestras and looked at ages of composers, whether composers were living or dead, and the countries of origin of composers being played.
Female composers represent 1.8 percent of the works performed. When looking at works by living composers, those by women increases to 14.8 percent. The current season at Minnesota Orchestra includes one work by a woman composer in its regular subscription season (Polina Nazaykinskaya's "Winter Bells," Nov. 13-15 ). Two women composers will be played in the Jan. 16 Future Classics program.
The BSO study determined that the average date of all compositions performed is 1886, and that 9.5 percent of all music performed was composed since 2000. American composers made up less than 11 percent of pieces performed. Additional details are illustrated below.
Helen Sadler and Francis Guinan in "The Night Alive" at Steppenwolf Theatre in Chicago. Set design is by Todd Rosenthal. Photo by Michael Brosilow.
Steppenwolf Theatre, the Chicago playhouse that has a knack for birthing hit plays, some of which have gone on to Broadway runs and Tony wins, just opened "The Night Alive," by Irish playwright Conor McPherson.
I saw the production in previews in September, and can't wait for the play to arrive in the Twin Cities. The Jungle Theater, which has produced such other McPherson plays as "The Seafarer" (2009) and "Shining City (2007), would be great home for this darkly amusing meditation on violence, mortality, charity, friendship, illusion and dreams deferred.
As directed at Steppenwolf by Henry Fishcamper (who is a resident artistic associate at Chicago's Goodman Theatre), "The Night Alive" takes place in the extremely messy, bare bones rented room of Tommy (Francis Guinan, marvelous), whose landlord Uncle Marice is played by veteran character actor M. Emmet Walsh.
One night, Tommy, one of the most lovable losers ever to have graced a stage, brings home Aimee (Helen Sadler), a young woman who has taken a beating. Their growing relationship plays out alongside Tommy's dim sidekick Doc (Tim Hopper), Maurice, and a malevolent Kenneth (Dan Waller).
While the action and plot are wonderfully grounded in quotidian detail -- dented cups of tea, piles of dirty laundry, a travel poster of Finland -- the script leaves open the possibility of multiple metaphoric interpretations. This became abundantly clear in the post-play discussion with Steppenwolf's Martha Lavey and Fishcamper, which raised more questions about the play than were conveniently answered.
"The Night Alive" continues at Steppenwolf through Nov. 16.
Francis Guinan, M. Emmet Walsh and Tim Hopper in Steppenwolf's "The Night Alive," by Conor McPherson. Photo by Michael Brosilow.
Just when you thought some obsessive documentarian might make a film called “Searching for Steve Perry,” the reclusive former Journey frontman showed up unexpectedly Sunday night at the Fitzgerald Theater during the second encore of the Eels concert.
Perry, who apparently hadn’t performed in public since 1996, sang three numbers, including the Journey smashes “Open Arms” and “Lovin Touchin Squeezin.”
Perry, 65, didn’t have his heyday mullet but he did showcase his high, piercing voice, which, judging by the YouTube video, is not as high as it used to be – nor as high as that of current Journey singer Arnel Pineda.
No idea what the connection between Perry and the Eels is.
In other Journey-related news, Neal Schon and Gregg Rolie – original members of Journey—will get together with Carlos Santana and others for a reunion of the original Santana band, the bandleader told Rollingstone.com. He credited Schon, the current Journey guitarist, with pushing for the reunion. They are recording new material for “Santana IV” (since they made three albums together) and talking of a possible tour.
Photo provided by Fox TV
On the eve of his multi-venue tour in London, Prince held a news conference Tuesday – in the living room of British singer Lianne La Havas, whom he met when she performed in the States.
With about a dozen people in the room, he talked about his love of tea, something he shares with La Havas.
OK, to the important stuff, courtesy of the Associated Press.
On why he recently sued fans whose Facebook pages were selling bootlegs
"Nobody sues fans. It's just a poor way to phrase it. A bootlegger is a bootlegger, a scalper is a scalper. They know what time it is. Just sharing music with each other — that's cool. It's the selling that becomes the problem."
On whether he’ll play England’s famous Glastonbury Festival in June
"I can't think of the festival now."
On how he feels about this summer’s 30th anniversary of his hit movie and soundtrack, “Purple Rain”
"I don't look back”
Heather Johnson, being fitted last summer for Mill City Opera's "The Barber of Seville."/photo by Courtney Perry.
Heather Johnson, who grew up in White Bear Lake, just got some nice props for her performance as Lizzie Borden in Boston Lyric Opera's production. Johnson was back in the Twin Cities last summer for Mill City Opera's "The Barber of Seville" and mentioned that she would be taking on the title role in the world premiere chamber version of the 1965 opera.
Writing in the February Opera News, critic Kalen Ratzlaff didn't have much good to say about the concept and staging from director Christopher Alden. "Cheap laughs" and "depictions of sophmorically 'edgy' sexual behavior," Ratzlaff wrote. However, the critic waxed on about the singers. "If only one could have lifted them up lock, stock and barrel and dropped them into a production worthy of their gifts."
"In the title role, mezzo-soprano Heather Johnson was fearless, channeling a seething fury worthy of Electra and singing with dramatic focus, power and control."
Johnson sang at Roseville High School and then studied with Dan Dressen at St. Olaf. She has lived in New York for 14 years. Next up, according to her web site is a short engagement of "La Cenerentola" at Intermountain Opera, in May.
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