LCC symphonic Band Nov. 24, 2009
Review by Fae Marie Beck
Many new faces greeted us as the 57-member Lower Columbia College Symphonic Band took the stage of the Rose Center for the Arts in Longview, WA. Maestro Gary Nyberg and the band celebrated their 30th anniversary and the 75th anniversary of the founding of LCC.
The opening “Fanfare For Tomorrow” by Robert W. Smith was a brilliant choice for beginning the concert. The percussion section performed its demanding score with expected expertise. There was much syncopation and the tempos were varied. This is a celebratory piece, indeed.
Antonin Dvorak’s, “American Suite” was written as a result of his North American experience from 1892-1895. The band played the Andante con moto with melodious and dynamic mastery. The second movement was quite gay, then a little somber. It returned to gaiety as we were reminded of outdoor, rural Americana. The final movement was brief and terse. We were reminded of races and the song “Camp Town Races”
Alfred Reed’s “Russian Christmas Music” gave us an opportunity to stretch our musical ears and experience. This sound picture of tone color, power and sonority left us puzzled, curious and in awe. Lisa Sudar’s English horn solo was hauntingly beautiful. There were thick, ponderous lines from the bass instruments. The band took us to another time and place with this piece.
The final piece of the first half was John Philip Sousa’s “U.S. Field Artillery March.” The marching cadences from the percussion section nearly overpowered the busy scales and trills of the upper winds. Soon we saw peaceful smiles appearing on the faces of players. Then the whole band burst into song: When the Caissons Go Rolling Along. No band concert is complete without a Sousa march, and this one was skillfully and delightfully rendered.
“Lauds and Tropes in Praise” by W. Francis McBeth opened the second half. Again we were puzzled by new sounds in the melody lines and harmonizations. Three Lauds were interspersed with two Tropes. The Lauds are a part of the Eastern Orthodox and Roman Catholic liturgy. They are based on plainchant renderings of Psalms of praise. The lines are bare and exposed. The first Trope proved difficult for the band. Entrances were sometimes ragged and imprecise. The second Laud was bright and required the full ensemble at its best. The second Trope gave the excellent percussion section an opportunity to shine. The final Laud was quite celebratory and uplifting.
The “Light Cavalry Overture” by Franz von Suppe and arranged by T.M. Tobani gave every section of the band a chance to shine and shine they did.
Dr. Mark Babbitt, trombonist, was the soloist for the evening and played the “T-Bone Concerto” by Johan de Meij. Dr. Babbitt, a faculty member at Central Washington State University in Ellensburg, and a friend of Maestro Nyberg, demonstrated great virtuosity and musicality in his performance of the Concerto. Nyberg, also a trombonist, has high standards for trombonists. It was easy to see that Babbitt meets Nyberg’s standards. Babbitt and the band played smoothly and well together.
The encore, “St. Louis Blues”, was dedicated to the women and men in the military. The familiarity of the piece gave us a sense of comfort, even as we face the tragedy of war.
We look forward to the next concert by southwest Washington’s best musical ensemble.
Area musician Fae Marie Beck served
as organist at Longview's St. Stephens Episcopal Church and Westminster
Presbyterian Church in Chehalis. She lives in Toledo, Washington.
Alice in Wonderland: An Acid Trip
Nov 18–21, 27–28, Dec 3–5.
Info: 360-442-2311
Review by Perry Piper
Produced by Center Stage, Lower Columbia College Directed by Donald A. Correll, Rose Center for the Arts
The latest Center Stage production, "Alice in Wonderland: An Acid Trip," is performed at the new LCC Rose Center and is a treat for any fan of the original. Director
Donald A. Correll chose to adapt this version of the play from the Manhattan Theatre Project. Besides Alice, the rest of the cast play either generic or multiple instances of specific characters throughout the performance. I viewed the play Friday, November 20th. It continues weekends of November 27 through December 4.
Rather than just portraying the usual plot, many new things are thrown in, and to good effect.
Starting with the cast ingesting sugar cubes, music and lights make the stage come alive and tune the audience in to the overall feeling and things to come. Many notable characters, like the caterpillar, Queen of Hearts and white rabbit make appearances, but this version isn’t mirrored with the original. As the poster states, mature audiences will endure swearing and very obvious drug references. It usually improves the laughs, so nothing is really offensive here. The humor and delight of this production are executed brilliantly by the cast.
There were many acting methods and tricks demonstrated here that I’m not used to seeing. One of these includes the cast standing in a line, facing the audience, with their hands protruding side to side to mimic the caterpillar while the front-most actor vocalizes. Another has two characters looking at one another. One is real, the other is a reflection; every word uttered is copied on the other side with perfect coordination so that the illusion of the mirror really comes alive.
Overall, all characters got a good amount of solo work, with the reigning figure being Alice. The funky set, music and lights tempted the audience to tumble down the rabbit hole with the rest of the cast.
A vast spectrum of colors crowded the stage, while nicely placed trap-doors led to some interesting and almost eerie scenes. I should note that the strobe lights were a tad annoying, even to my eyes, but were effective in transition spots when characters switched roles.
Everyone wore a mix of hippy, multi-color or even minimal Chippendale style clothing that only further aided in the happy and exploratory atmosphere of the theater. Music was often background, although many popular songs made it into the mix for a few short sequences. Although only about an hour and a half in length, this piece was thoroughly enjoyable.
Alice in Wonderland: An Acid Trip is a hilarious bit of entertainment that will delight and surprise fans. At times, viewers may not understand what is happening, but many outside media references are included, so perhaps more than one viewing would be a smart idea. The actors’ perform
ances offer a visual treat that I think will hold up as very unique.
I enjoyed this visual “trip” and recommend it to anyone looking for a treat.
Perry Piper attends Lower Columbia College and plays French horn in its Symphonic Band. He designs Columbia River Reader's covers and writes a monthly column, "Lower Columbia Informer." In his spare time, he enjoys running, learning about evolving technology and playing video games.
Oliver!
Presented by Shoestring Community Players, S. Helens, Oregon; directed by Caleb S. Thurston
Review by Ned Piper
I arrived in time to grab a seat 10 rows from the stage and dead center in the middle of a crowd that was buzzing with anticipation. The Olmscheid, a very large auditorium, was about two-thirds full. From the chatter around me I gathered most of those in attendance knew at least
o
ne member of the 75 member cast.
Noting that the “Overture” was to be the opening musical number, I could see the tip of a stand-up bass sticking out of the orchestra pit, so I knew the cast would be supported by a live orchestra. Often, pit orchestras for amateur musicals create less than professional accompaniment. That was certainly not the case for this production of “Oliver!” The orchestra produced a rich sound that was carefully modulated not to overpower the singers.
Choosing not to use a curtain for set changes, director Caleb Thurston employed his actors to change the scenery. Rather than have some black-clad stagehands rush on stage in the dark to remove a table or reposition a staircase, the fully-costumed actors, the lighting dimmed, casually did the business of changing the set in a way that seemed to be a natural part of the action.
The set definitely lent itself to this unique treatment. The back walls appeared to be made of large bricks, rising from the stage floor to the ceiling. Two staircases, one on each side of the stage were connected by a bridge probably 10 feet above the stage. This part of the set was never changing. Changes in the set were “flown” down from above, pushed into place from backstage, or brought in by actors. It was smooth, almost choreographed. To set it all off, a hint of a London fog accompanied many of the outdoor scenes.
The lighting was also well conceived. “Oliver!” is a rather dark musical. Light board operator Annika Barnett did a fine job of working the lighting scheme designed by Serah Pope. Both are to be applauded.
You all know the story of Oliver Twist. A young orphan lad is sold by the orphanage to a funeral director. Oliver escapes and finds himself on the street where he meets a young pickpocket, Artful Dodger. Dodger introduces Oliver to Fagin, a man who trains young boys to scour the city picking the pockets of the wealthy -- for his own gain, of course.
Oliver gets caught and is taken in by Mr. Brownlow, the fine gentleman whose pocket he picked and who believes Oliver is a good boy who needs love and attention. As Oliver is beginning to appreciate his new life with Mr. Brownlow, Fagin steals him back.
I had an opportunity to meet director Caleb Thurston after the play and asked him if he sprinkled a few professional actors into the cast to give stability. He said, “No, the entire cast members are local actors.” I would have sworn that Ron Hansen (Fagin) and Carrie Brissett (Nancy) had to be professional actors with years of Broadway experience behind them. They both became the characters they played.
I won’t start singling out individuals, as everyone in the cast seemed to have a good sense of who they were portraying. They stayed on task, knew their lines and appeared to listen to the other actors on stage. Their singing voices were strong and the dancing was clever and crisp. Choreographer Laura Anderson created dance moves that were both easy to perform, while complimenting the action.
I do want to mention actors Winslow Thurston who played the slightly evil Mr. Bumble and Betty Fischer who played Mr. Bumble’s “love interest,” the Widow Corney. Their chase-around-the-table scene where they sang “I Shall Scream,” was the definite comic high point of the production. On the other end of the laugh scale, Leonard Click’s portrayal of the villainous Bill Sykes was downright scary. His singing voice cut like a knife. I’d hate to run into Sykes in a narrow alley on a dark night.
If there was a weakness in the production, it was the attempt of cockney accents by some of the actors with softer voices. Cockney is difficult enough to understand, especially tough when it is attached to a faint voice.
The play takes place in London in 1850. While the set contributed to the feel of London, it was the costumes that placed the audience there. I don’t know if Linda Zahl made the costumes, or if she leased them, but they set the scene with perfection.
This was an outstanding production from nearly every angle. The direction was astonishingly good, the acting was very well done, the set was effective, the lighting couldn’t have been better and the costumes were simply wonderful.
I encourage playgoers, music lovers and fans of Charles Dickens to see this play. You will not be disappointed.
IF YOU GO:
The award-winning musical based on Charles Dickens’ Oliver Twist; Book, music and lyrics by Lionel Bart.
Shows: July 16-18, 23-25 at 7:00 p.m.; July 25, 2:00 p.m.
Olmscheid Auditorium, St. Helens High School
Adults $12, seniors $10, students and children $8
Info: www.sscpmusicals.com
Ned Piper earned a B.A. degree in drama at the University of Washington and is a life insurance agent in Longview. He also serves as a Commissioner for Cowlitz County Public Utility District.
LCC Symphonic concert June 5; tradition of excellence continues
review by Fae Marie Beck
The tradition of excellence continues. Maestro Nyberg credits the acoustics of the new hall of the Rose Center for the Arts for the marvelous sound of the LCC Symphonic Band. Perhaps he is a bit modest; the group continues to develop and gain mastery under his superb direction.
The performance of the final concert of this school year seemed superior to all previous performances. And the program was quite difficult. As Nyberg said, the group has played pieces of this level of difficulty before, but not so many on one program.
The young soloists were amazing. Erin Turner played the “Allegro” movement of Concerto in E Flat for French horn by Richard Strauss. Erin is a junior at Wahkiakum High School and is a student of Paul Walden. It is hard to believe her mastery of this difficult instrument. The Strauss piece is a familiar one and that makes it even more challenging for public performance – if the piece were unfamiliar, we would not notice errors. Erin did a beautiful job and played with much confidence and sensitivity.
Moriah Urseth, soprano, is a senior at Three Rivers Christian School and a student of Sue Hinshaw. Her performance of O Babbino mio caro by Giacomo Puccini showed her surprisingly mature coloratura voice and carefully honed vocal technique. Our wish is that she will travel far in the operatic world. Her singing of Over the Rainbow by Harold Arlen was pretty and not nearly as exciting as the operatic piece.
Did Gordon Jacob intend to create a tribute to William Byrd when he wrote the William Byrd Suite? If so, he succeeded in letting us hear rhythms and harmonic structures reminiscent of Byrd, who lived from 1542-1625. This opening selection for the band demonstrated strong dance rhythms. The dynamic breadth -- from very soft to a loud, full sound -- was satisfying and probably broader than Byrd would choose, broader than was possible with the instruments of his day. The LCC band’s presentation of this suite was full and inspired. Byrd’s pieces are often characterized by a short, repeated note at the ends of phrases. The band played these notes with complete finesse.
Before going further, consider the sections providing the strongest bass line ever heard from this band. There were six tubas, an electric string bass, three euphoniums, five trombones, the B-flat bass clarinet, the B-flat contrabass clarinet and two bassoons. The sounds produced by this magnificent group were absolutely thrilling and gave a solid underpinning. Congratulations and kudos to all.
Sketches on a Tudor Psalm, by Fisher Tull, brought out the best in the band’s ability to play with rhythmic precision. Every member had to count every beat from beginning to end. And that effort paid off. The piece was my favorite!
Mosaici Bizantini, by Franco Cesarini, is comprised of three sections describing the birth of Jesus, the rending of the curtain secluding the holiest place in the temple of Jerusalem, and the angel of the resurrection. These pieces are tremendously dramatic. The audience viewed slides of Byzantine mosaics found in Italian churches, illustrating the events presented in the music. It was quite a moving experience.
Aaron Copland’s Lincoln Portrait concluded the program. Hear these words from Abraham Lincoln: “The mystic chords of memory stretching from every battle field and patriot grave to every living heart and hearthstone all over this broad land will yet swell the chorus of the Union, when again touched, as surely they will be, by the better angels of our nature.” Copland’s Lincoln Portrait succeeds in illustrating Lincoln’s hopes and dreams, his spirit and the colorful background of the times. In addition, we hear Lincoln’s actual words through the narrator. The piece is written for speaker and orchestra. Joseph Green was the marvelous narrator. This heart-stirring piece is universal in its message and has been translated into more than a dozen languages, including Chinese, Vietnamese and Arabic. Thank you Maestro Nyberg, for selecting this magnificent homage to Abraham Lincoln for the final concert of this school year.
Area musician Fae Marie Beck served
as organist at Longview's St. Stephens Episcopal Church and Westminster
Presbyterian Church in Chehalis. She lives in Toledo, Washington.
MYTHICAL MYSTERY TOUR
This Island Earth
by Leslie Slape and Don Correll
Review by Ed Phillips
My wife and I went to the Center Stage Theater at the Rose Center For the Arts on the Lower Columbia College campus on Wednesday, May 27th to see the opening night production of This Island Earth by Leslie Slape and Don Correll.
Ms. Slape is a familiar name to readers of The Daily News in Longview, Wash., and is a professional storyteller. Don Correll, who also directed this effort, is a major fixture in LCC’s drama program and is rumored to have been present at the creation of some of the myths.
Note I said “production,” not play. This Island Earth is not a play but a confabulation of ancient and recent myths about the creation, destruction, and rebirth of our planet, recounted from many cultures (Norwegian, Navaho, Mowhawk, and Indonesian among others) and many ages.
The presentation is in two acts: Creation and Destruction and Destruction and Renewal. These “acts” are compilations of brief vignettes. The characters represent forces of nature, animals, humans, and spirits, all interacting to shape the pre-modern myths of earth’s creation and acquisition of powers, real and mythical. It’s all very reflective of animism common to the world’s ancient cultures
For example, Act 1 is composed of 12 separate episodes beginning with a tribal dance in the dark (illustrating the sounds of nature) and ending with a Norwegian fable about the wise use of power (Thor Loses His Hammer). The effectiveness of the presentation is highly dependent upon the choreography and skill of the actors in portraying forces of nature as well as sentient creatures. Much of the acting is a cross between pantomime and modern dance and, though there is some dialogue, narration gives continuity to the whole effort. The nine cast members are simply attired and work without props. The staging is simple, but effective.
More must be said of the choreography. The symbolic representation of the earth’s forces -- wind, rain, waves, volcanic activity, animal interactions, and whatever --are very cleverly represented by the choreography and performed by the actors with considerable physical skills. Everything flows, everyone hits their marks. The energy is organized and there is a lot of it!
A final word about the tribal dance in the dark. It is a dance and it is in the dark. You can’t see it. Hearing is enough. Give credit to choreographer Megan Jasurda and the performers. The price of admission has been covered before the lights go on.
As it turns out, myths are not without humor and much of it is physical. The actors do a very good job of giving a comical flourish to physically demanding performances. There are some damn fine and funny critters on This Island Earth. I would think young theater goers would be captivated by the characterizations.
Everyone associated with this production is to be congratulated; only the intermission coffee lacked pizzazz. The only disappointment was the sparse opening night crowd. This Island Earth is excellent provocative entertainment for the whole family. It will be presented May 28-30, June 4-7 and June 11-13. All performances are at the Rose Center (an excellent venue, all seats give a good view of the stage) and admission is $8 general, $7 to seniors and students and free to all LCC students.
H
ey, This Island Earth is a great chance to be exposed to a little cultural anthropology and not have to take a test afterward!
Ed Phillips is a retired teacher, economic consultant and public employee. He taught economics at the University of Colorado, and was an adjunct professor at Linfield College and Clark College. He lives with his wife, Laurel Murphy, in Kalama. During their years in Alaska, the adventurous couple became avid subscribers to the Alaska Repertory Theatre. Ed describes himself as a musical theatre aficionado.
Nunsense Jamboree
(A Musical Comedy by Dan Groggin)
Rising Star Productions Community Theatre
Opening Night Performance May 1, 2009
Kelso High School Auditorium -- Kelso, Washington
Review by Charles "Chas" H. Dean
Nunsense or Just Fun Nonsense
Anyone who has spent any time in a private or parochial school environment is sure to enjoy this nonsensical musical comedy about a Nun, Sister Amnesia, who is an aspiring country western singer and her compatriot sisters in the order of disorder. This is not great theatre, but it is fun theatre. This is a production which involves audience participation with the actors. At one point the audience is asked to sing along. One must go with the idea if interacting with the actors and having a good time. This show is not a spectator event. Go with the idea that you are going to laugh.
At times I felt like I was in reruns of the old Laugh-in or Hee-Haw Shows. The jokes can come so fast that it easy to miss some. Unfortunately, for many younger people some jokes will probably be missed since a number of references are from long before they were born. However those with memories and/or a sense of history, will be quite amused. I loved the irreverent levity while dealing with some serious issues. We all need some nonsensical fun to keep life in perspective, and this show does just that.
Production-wise, I was concerned in the beginning of the show as the opening numbers seemed weak and lacking energy. However, the actors began to perform more securely as the show went on and by the second half, the show was rocking and the audience was becoming involved. There were some absolutely delightful musical moments during the show which showed the real potential of the actors and the band.
I highly recommend going and interacting in this show. The price is inexpensive at $10 for adults, $8 for seniors, and $5 for kids. Shows are May 1, 2, 8, 9, 15, and 16, 2009 at Kelso High School Auditorium. Go to www.risingstarproductions.org for more info. This is not great theatre but it is FUN community theatre. And I had FUN!!! I hope you do too!
Charles "Chas" Dean earned a degree in music from Lewis and Clark University. He sang with the Portland Opera and was choirmaster at several Portland area churches. Since moving to Longview, Wash., he says he has been pleasantly surprised by the rich cultural "buffet" available in this area and enjoys local musical and theatrical offerings. An accomplished cook and bartender, Dean also enjoys home entertaining.
Southwest Washington Symphony Spring Concert
April 18, 2009 and April 19, 2009
Lower Columbia College, Rose Center
Conductor Ryan Heller
Guest Young Artist: Rebecca Anderson
This rich program opened with Felix Mendelssohn’s Overture from “The Hebrides,” a piece inspired by the young composer’s visit to Scotland’s Fingal’s Cave. In the piece which Mendelssohn called an overture, but was meant to stand alone, one can feel the surge of the waves, the vastness of the cavern and its solid basalt pillars. The Symphony, under Heller’s flowing conducting, took full advantage of the Rose Center’s excellent acoustics.
The program followed with the rousing Hungarian Dances Nos. 5 and 6, composed by Johannes Brahms. The pieces alternate between sections of melodic strains and exciting, rhythmic breaks where cymbals crash and the volume peaks. It was noted in “Program Notes” that if the audience recognized Dance No. 5, it was probably because the piece was featured in Charlie Chaplin’s movie The Great Dictator.
For the next piece, Charles Gounod’s Petite Symphony, the string section had the best seats in the house, as the entire work was performed by members of the wind and horn sections. The work was composed in four short movements. First performed in 1885 in Paris, the work wasn’t published until 1904, eleven years after the composer’s death. Rose Center concertgoers seemed pleased that Ryan Heller e
lected to perform this charming work. The wind section definitely rose to the occasion, performing the work crisply and professionally.
T
he Southwest Washington Symphony is to be applauded for their Guest Young Artist program. This annual series not only gives a young artist an opportunity to perform with a quality symphony, but it gives local concertgoers a close look at the area’s ample young talent.
This year’s Guest Young Artist was Rebecca Anderson, a senior at Toledo High School. A multi-instrument musician, Rebecca plays flute (her instrument of choice for this concert), piccolo, oboe and bassoon. In addition to having achieved Honor Society status, Rebecca is musically involved with the Southwest Washington Youth Philharmonic, Lower Columbia College Symphonic Band and the Southwest Washington Youth Symphony. She also plays with her father, sister and other musicians in a group called Breevives (brass, reeds and vibes). Rebecca plans to attend the University of Washington, majoring in Japanese with a minor in biology and/or music.
Dressed in a lovely plum-colored gown, Rebecca entered the stage with the confidence of a seasoned performer. The choice of Antonio Vivaldi’s Sonata No. 3 from “Il Pastor Fido” was excellent. Her performance on the flute through the Anante and Presto movements was flawless. The audience responded approvingly, as Rebecca received a lovely bouquet of flowers to a burst of applause.
Following a brief intermission, the Symphony concluded the program with another Mendelssohn, his Symphony No. 5 “Reformation” in four movements. It was simply marvelous. We in Southwest Washington are fortunate to have this professional group of artists performing in our area.
Review by Ned Piper
REVIEW of
LCC Symphonic Band Concert
March 17, 2009
By Fae Marie Beck
Once again, Maestro Gary Nyberg and the LCC Symphonic Band are to be congratulated for presenting a wonderful evening of entertainment. Among the highlights were the saxophone soloist Mark Davey, the Tap Dancing Troupe, TAPestry, and a cameo visit from Charlie Chaplin (Daniela Nyberg).
The tunes from the roaring twenties are delightful to listen to. And the impressionistic movement from Charles Ives Concord Sonata lent a serious note to the evening.
T
here are many new faces in the band. It is amazing that Maestro Nyberg brought out their best efforts and enabled them to be part of the total ensemble. This shows the result of much hard work on the part of all.
There were a few ragged spots in the concert and at times, the horn section was weak and slightly out of tune. The concert presented rhythmic challenges, most of which were mastered. There were many passages of 16th note runs at fast tempos and this was a real workout primarily for the clarinets and flutes.
Ralph Vaughan Williams’ Folk Song Suite let us hear musical subjects of traditional folk music. The two marches and the intermezzo were all rich, engaging and beautifully performed.
The combination of hearing Boogie Woogie Bugle Boy and seeing TAPestry in motion was a real treat. The dancers are to be commended for their professional performance. Their precision dancing, gestures, stage presence and costuming are all amazing!
The highlight of the second half of the program was the performance of Mark Davey, alto saxophone soloist. His mastery of the saxophone is glorious. The instrument seemed to be an extension of his whole self. His virtuosity is at the top! His expertise seemed to inspire and bring out the best in the band players. He received a great welcome from his home town and we would have been happy to hear more of his playing. His pieces were a Tribute to Rudy Wiedoeft and I suspect the audience would have been pleased with almost anything in his repertoire.
Many thinks are due to all involved in providing a nearly full house such a splendid evening.
Area musician Fae Marie Beck served as organist at Longview's St. Stephens Episcopal Church and Westminster Presbyterian Church in Chehalis. She lives in Toledo, Washington.
Much Ado About Nothing
by William Shakespeare
Presented by Lower Columbia College’s Center Stage
Review by Susan Donahue
Go and see Much Ado About Nothing. It is, in my not-so-humble opinion, one of Shakespeare’s wittiest and easiest to follow plays. The current LCC Center Stage production, directed by Jennifer Cheney, has wit, beauty, silliness, and passion for life, love, and honor.
The war is over and Don Pedro (Carl Jansen) and his troops will rest and revel in Messina at Leonato’s (Mark Bergeson) estate. Ah, love is in the air and young Claudio (Corey Farmer) is enamored of Leonato’s daughter Hero (Kylee Gano). A "merry war" still wages between Benedick (Derek Mesford) and Leonato’s niece Beatrice (Caitlin Nolan). Don Pedro’s "bastard" brother Don John (Justin Bell) and his cronies Conrade (Dylan Disch) and Borachio (Phillip Kennedy) mischievously stir the pot, creating "much ado" about...well, nothing. Enter an inept, malaprop-spouting constable named Dogberry (Seth McNally) who somehow miraculously manages to sort out the "do" from the "ado."
The actors’ level of experience and expertise with Shakespearean language varies in this production, which this reviewer realizes is a natural occurrence in educational theatre. Some actors rushed their lines and seemed stiff and uncomfortable on opening night. Others celebrated every pun, couplet, and iambic turn of phrase. Volume and diction were also bugaboos on opening night; I was often struggling to hear.
Nolan’s performance, however, is nothing short of outstanding. Every nuance, inflection, and expression create a Beatrice who is witty, at times caustic, empathetic and vulnerable. Nolan also played the space well, keeping herself seen and heard at all times, which in this new thrust theatre with its challenging acoustics, is a feat all in itself. Whether she is aiming her wit at the world or Signor Benedick, Nolan as Beatrice luxuriates in the language, embraces the emotion, and clearly communicates the subtleties of one of Shakespeare’s most notable heroines.
Mesford’s Benedick is also delightful. Mesford is adept at physical comedy and his word wars with Beatrice were energized and sassy. Benedick’s soliliquies, sharing his thoughts on love and marriage, were splendid and his moments of seriousness and love for Beatrice balance his performance beautifully. At times, however, it was hard to hear him. The scene where Benedick is fooled into loving Beatrice was very well-staged and very funny. Bergeson, Jansen, and Farmer combined to torment Mesford’s Benedick, showcasing his great talent for physical humor.
Kylee Gano’s Hero was played with a strength and passion that was refreshing; oftentimes in many productions, Hero is a real wimp. Gano’s Hero, however, is flesh and blood, loving, and very real and likeable. Justin Bell as Don John also turns in a laudable performance, brooding, skulking, and sneering as the unhappy illegitimate brother of Don Pedro. He speaks his lines with feeling but needs to turn up the volume a bit.
Seth McNally as Dogberry was a casting coup. McNally excels at over-the-top physical comedy and exaggerated characterizations, a combo perfect for Dogberry. His sidekicks, the members of the night watch (played by T.J. Wistrick and Annie Bardonski), and the up-to-no-good Conrade and Boracchio (Disch and Kennedy) combined for great comic effect.
Many of the actors in small roles handled the language exquisitely and created believable, well-defined characters. Of particular note were Adam Wolfer as the sympathetic friar and Phillip Kennedy as the scalawag Borachio.
Director Cheney chose a cutting that was very accessible from an audience standpoint. Some scenes, however, were staged partially in the audience area which made them very hard to see. Although I thought the costumes all enhanced the characters, they were from mixed time eras and that was confusing to this reviewer.
Michael Cheney’s set design and Don Correll’s lighting design were a visual feast, enhancing the action and creating some truly stunning stage pictures. In doing so, they keep with the philosophy of "less is more," thus allowing the acting and story to be unobstructed. I did fancy the gorgeous fountain, which Director Cheney used with great effect in staging this show.
I love the Shakespearean dance break, but the pace of the choreography seemed too slow for the style of music (1940's big band), and the actors, for the most part, seemed happy until they had to dance. Well, except for 
McNally who attacked the dance with zest and crazed vigor.
Jennifer Cheney’s Much Ado is definitely worth the price of admission.
Susan Donahue teaches English and drama at R.A. Long High School
in Longview and has been active in community theatre for 26 years.
SW Washington Symphony features Beethoven February 21 and 22
SWW SYMPHONY: BRAVO! BRAVA!! BRAVISSIMO!!!
a review by Chas Dean
I attended both performances on February 21 & 22, 2009 of the Southwest Washington Symphony in the Wollenberg Auditorium at the new Rose Center for the Arts at Lower Columbia College in Longview, WA. I can only applaud enthusiastically the efforts of these musicians.
This was an incredibly ambitious and demanding all-Beethoven program, which was over-all well performed. We are fortunate to have a symphony orchestra of this caliber in our community. I'm pleased to see that the community supports the symphony as the Saturday evening performance was well-attended with only a few empty seats and the Sunday matinee performance was completely sold out -- many would-be concert goers were unable to get last minute tickets at the door.
The concert began with the seldom performed "Coriolan Overture," which was in keeping with the revolutionary nature (musically, culturally and politically) of the other two works. Remember that Beethoven was a product of the "Age of Enlightenment," which ushered in the rise of individual rights of the common man, the ideals of democracy, and our modern age. (You may want to read the Symphony preview article on page 10 of the Feb 15 ’09 Columbia River Reader for more of a historical perspective.) The "Coriolan Overture” was performed energetically and was an appropriate opening work to this major concert.
The second work, the "Emperor Piano Concerto #5," was definitely the highlight of the concert featuring world-renowned pianist Tanya Stambuk on the new Bösendorfer concert grand piano. True to all expectations, Ms. Stambuk was superbly phenomenal! She brought the work to life with her virtuosity and artistic musicianship. Her ability to meet the varied and rapid shifts from virtuosic cadenzas and runs to the most delicate and soft of musical moments was mesmerizing. The orchestra met her musically, creating the sense of ensemble (give and take between the orchestra and piano) so necessary in this piece. Maestro Ryan Heller has a conducting style which encourages this rare sense of ensemble (He also almost always knows the works so well that he conducts without a score in front of him). His artistic sense and musicianship is impeccable.
After intermission, the concert program ended with the "Eroica" Symphony. This work in four movements was an appropriate ending to this program of Beethoven's revolutionary music. The orchestra performed the first two movements of this work very well (especially the second movement -- the funeral march). At Saturday's performance, by the beginning of the third movement of this work the musicians appeared and sounded exhausted. This did not seem to be the case at Sunday's performance. Sunday's performance was full of energy through the entire work.
This concert program was a major undertaking and was well performed in spite of some instances of intonation problems and the apparent exhaustion during the final work on Saturday. I was particularly encouraged by the dramatic improvement in the horn section from previous concerts. Few other orchestras could have tackled this program and done as well. We are indeed fortunate to have this group of musicians in our community. I encourage everyone to support the Southwest Washington Symphony orchestra. Get your tickets now for the next concert April 18 & 19, 2009 in the Rose Center for the Arts. This is an extremely small house (only 490 seats). You do not want to miss out! as many would be concert goers did this past Sunday due to a sold out house.
Tickets are available at the Symphony Office in The Merk, 1339 Commerce, Suite 108, 10–2 Mon–Fri.
1339 Commerce Ave. Suite 108 Longview, WA
For more information: Call (360) 577-7919 or visit www.swwasymphony.org.
Charles "Chas" Dean earned a degree in music from Lewis and Clark University. He sang with the Portland Opera and was choirmaster at several Portland area churches. Since moving to Longview, Wash., he says he has been pleasantly surprised by the rich cultural "buffet" available in this area and enjoys local musical and theatrical offerings. An accomplished cook and bartender, Dean also enjoys home entertaining.
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S. W. Washington Symphony Conductor/Musical Director Ryan Heller, addresses the audience before the Southwest Washington Symphony's Feb. 21 concert at Lower Columbia College's Rose Center. The concert featured works of Beethoven and guest artist Tanya Stambuk, playing the Bösendorfer grand piano.
Marriage is Murder
presented by Rising Star Productions
The Butlers Did It ~ Review by Ed Phillips
January 16, 2009
A small but enthusiastic audience enjoyed the Jan. 16 opening performance of Marriage is Murder at the in Kelso High School auditorium. The comedy by Nick Hall follows the basic Neil Simon formula – clever, cutting repartee among the protagonists, in this case between the protagonists, as there are only two actors.
In this play the odd couple is a recently divorced pair of moderately successful, middle aged, hack mystery writers. Their one success is a short series of Charlotte Hayakawa (a.k.a. Miss Charlie) mysteries. In this case the total (the Butlers) is greater than the sum of the parts (Polly and Paul). As independent writers neither have had much success. She has putatively sold one script and he has perfected the martini sans olive.
She is orderly and disciplined; he is slovenly but creative and engaged in writing an unfinished novel mirroring their previous existence together. Their creative skills are obviously complementary and between them lie the possibility of one more mystery novel and possible movie scripts and a television series. Their working technique involves acting out the possible methods of murder and the play's hook is how much they mutually desire the enactment to be the real thing as they work through the pain of their divorce.
Thus ensues a giant game of "gotcha" as each serves up surprise methods of homicide.
This plot has them reuniting (she from California) in their former apartment in Manhattan now solely occupied by him. (The set is too spare, given that it is an apartment they occupied for a number of years.) They rehash their relationship as they work though plot devices for their new mystery. Much of the dialogue is very clever and quite humorous. It is the basic sit com formula (zingers galore) and, for the most part, works well. No need to dwell on logic or coherence, go with the gags. As a variation on The Odd Couple it works well. The play is an audience pleaser and has a very funny third act featuring family friendly bondage. The play's arc is predictable but the path to the conclusion is sufficiently strewn with plot devices to remain constantly enjoyable.
I only have one complaint with the play and that is the connection among the protagonists. Their emotional connection is not obvious. It's not clear whether they were ever romantically involved or just connected as a matter of convenience; more of a business connection than a love connection. Modern romance, I hope not.
Steve Thorp as Paul Butler is outstanding. He milks every ounce of Paul's humanity from the script and is very funny, to boot. He is one of the community's better talents.
Jeanne Meyers as Polly gives a cool reading to the role. That said, she is outstanding in her physical comedy in the third act. It is the high point of the play.
The play is good, clean, family friendly, homicidal fun. Bravo to Rising Star Productions!
I like the venue at Kelso High School. The auditorium is not large, hence preserves the intimacy necessary for the play and the seats are comfortable, no small asset to the play goers.
Marriage is Murder provides the family with an excellent beyond Disney opportunity over the next couple of weekends.
Ed Phillips is a retired
teacher, economic consultant and public employee. He taught economics
at the University of Colorado, and was an adjunct professor at Linfield
College and Clark College. He lives with his wife, Laurel Murphy, in
Kalama. During their years in Alaska, the adventurous couple became
avid subscribers to the Alaska Repertory Theatre. Ed describes himself
as a musical theatre aficionado.
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If you go...
The play is scheduled for Jan 17, 23, 24, 30 and 31st, and a matinee performance on the 24th at 2pm.
Evening performances are at 7:30pm.
The originally scheduled matinee performance for the 31st has been canceled.
Ticket prices are $10 for adults, $8 for seniors, and $5 for the under 16 age set. The matinee prices are $8 for adults and seniors and $5 for juniors.
Tickets are available online at: www.risingstarproductions.org
They may also be purchased at the door, 30 minutes before show time.
For questions or more information please call 360-749-5212