“Trapped” in the hills of St. Helens
By Ed Phillips
For the next three weekends regional residents have the chance to enjoy the ShoeString Community Player’s rendition of The Sound of Music. They are performing their version of the award winning musical play and movie at the Olmscheid Auditorium in St. Helens. Based on the opening night performance I confidently predict three weekends of musical pleasure for attendees. Be warned: The m
usic is tuneful and highly infectious with
memorable lyrics.
You can access Wikipedia and read about the play’s success on Broadway in 1959 and the movie adaptation that won the Academy Award in 1965 as best movie. The play, which comes with a distinguished pedigree, is very loosely based on the book “Trapp Family Singers” by Maria von Trapp. She is the main character in the play which takes place in Salzberg, Austria, in 1938-9 before and after Hitler’s take over. A free spirited, apprentice nun (postulate) is sent to become a governess for further seasoning before being admitted into the Order. She becomes a governess for Baron von Trapp’s seven tuneful children and the rest is history. The title of the book makes it clear that she and the Baron eventually fall in love. The family escapes Austria and the Nazis and eventually end up in the United States.
Enough about the book. This is a musical and the words and music are what matter and the quality of the singing makes or breaks the magic of the moment for the audience. The ShoeString players complete the sale with excellent renditions of the signature songs: "The Sound of Music," "My Favorite Things," "Climb Ev’ry Mountain," "Do-Re-Me" and the other tunes. On top of that there is some very fine singing (but non flying) nuns.
For this play to weave its spell, Maria must be a first rate singer and the kids must be believable as a singing group and as kids. First, Ariele Sullivan as Maria is a singer of professional quality with an outstanding voice that fills the auditorium and carries well above the orchestra. She alone is worth the price of admission ($12 for adults and $10 for seniors and students). Secondly; the kids make the sale as a musical group and do well as actors.
All of the principals can at least carry a tune and do reasonably well selling their singing. The singing nuns bring life to a dead language and Janel Tierney as the Mother Abbess is another professional quality voice with range and power.
The set designers for the ShoeString Players deserve special mention. The sets were outstanding and supported the play’s Austrian ambience extremely well. The company has some very talented artisans. Honorable mention goes to Two Guys that showed up. They were flawless.
One complaint for which I have no solution: The orchestra is between the audience and the performers and, at times, drowns out the vocals. This is the one obvious glitch in an otherwise totally pleasurable musical evening. Even I tried singing on the way home. My career was short-lived due to so
me unfortunate suggestions by my wife.
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.
Review of LCC Symphonic Band's "Grand Tour of Europe"
Featuring Rachel Brown, Soprano
June 11, 2010
Review by Lynn Taylor
The LCC Symphonic Band under the direction of Dr. Gary Nyberg closed its 2009-2010 season of Friday night (June 11, 2010) with a “Grand Tour of Europe.” The first piece, “Crown Imperial” set the tone for the entire concert. This ceremonial march opened with a brisk tempo. The band responds well to its director, building an effective crescendo as more sections join in. Sandwiched in between the movements with exciting brass fanfares was a soft, smooth movement with a light tapping of the percussion to maintain the march tempo. The final measures added the gong and chimes.
“Flight” is a recent composition describing musically a person’s privately funded brief spaceflight to reach weightlessness. The take-off and re-entry portions are primarily rhythmic, not melodic, driven by a steady beat on the wood block.The sense of weightlessness was achieved by a moment of complete silence, then a melody from the xylophone accompanied by the woodwinds. Silence in the middle of music is a very effective tool, and the band was perfect in achieving this.
The band then completely shifted gears from the previous rhythm driven work to a very melodic piece, “Children’s March,” by Percy Grainger. The theme is light and bright, giving images of sunshine, skipping, dancing, children playing and teasing. It passes throughout the different sections of the band, ending with the lowest notes on the lowest brass and tickles from the tambourine, triangle, gong, and other percussion instruments.
The next, a three movement composition required the band to shift gears with each movement. The Prelude opened with the full band, and ended with soft muted trumpets and the low brass. The Siciliano opened with a smooth, melodic solo trumpet theme that was repeated, while trading off the melody with the full band, ending very, very softly. The third movement’s first notes would have awakened anybody who was lulled by the previous movement. The band alternated between a light staccato and a heavier legato, eventually blending the two together, and again using the silences to contrast with the music as it comes to a perfect, sudden halt. Thus ended the first half of the concert.
From a visit to the British Isles in the first piece of the concert, we now continued the “Grand Tour of Europe” with a musical trip to Norway.
“Valdres Norwegian March” was written by Johannes Hanssen. This is a beautiful foot-tapping march. The percussion starts it off, seconded by a solo trumpet. The flutes and oboe chime in, and the four gleaming tubas make their presence known.
Next stop on our tour was Spain, with a French tour guide/composer, Emmanuel Chabrier. The band played very well through the difficult rhythms of “Espana Rhapsody.” The familiar sounding melody traversed the sections of the band as they called and responded to each other.
From Spain we went to France with “La March Lorraine” by Louis Ganne.
The trumpets played their fanfares throughout in perfect unison. Another treat in this piece was hearing the piccolo weave in and out.
The next piece covers two continents, North America and Europe, and spans history from ancient Greece to the United States’ Bicentennial. An Italian-American composer, Norman Dello Joio, wrote “Satiric Dances for a Comedy by Aristophanes.” The first, allegro, movement was short and quick, with the brass calling, and the other half of the band answering.
The second, a soft and slow movement, emphasized various solo instruments, the final notes being played high and low on the flutes and tubas. The third movement was another allegro movement. It challenged the band with the speed required for fingering all the notes. The band was impressively up to the challenge, and all finished together.
The featured soloist was Rachel Brown, a recently graduated senior from R. A. Long High School. In the first half of the concert she sang an aria from the opera “La Boheme” by Giacommo Puccini. Her strong soprano voice seems larger than her years, sounding as though she could carry the role on larger stages. In the final scheduled song of the program she sang “I Could Have Danced All Night” from the musical “My Fair Lady.” She has the absolutely perfect voice for this song, and again sounds like she could easily “WOW” larger audiences on larger stages.
Her expression and movement on stage captured the wide-eyed wonder that the song projects.
“Those of you who have been to our concerts know that even if we don’t deserve to we play an encore,” joked Dr. Nyberg. The band’s encore – well deserved and equally well received, was a “Gallop” that they played in perfect synchrony.
Dr. Nyberg commented that the band has fifty four members who rehearse for two hours a week for ten weeks. That multiplies to one thousand sixty person-hours, which doesn’t include individual practice time. The band’s concerts always end too soon. I could listen all night!
Lynn Taylor is a veterinarian who lives and works in Rainier, Oregon. In her all too infrequent spare time she runs, quilts, and tries, she says, to play the oboe.
###
“The Three Cuckolds”
A Thousand Laughs at LCC Center Stage
By Ray Baker
Before the performance starts one is handed the program, which prominently features “The Desperate Housewives of Longview” in “The Three Cuckolds,” by Leon Katz and directed by Donald Correll.
From that moment forward, you enter a world of infidelity, tormentors, and lusty temptations played to the hilt. As this is a style of theater from Italian culture of centuries past it offers many opportunities to bring past and present together for a moment.
A “Cuckold” is considered to be a man with an adulterous wife, yet in this interpretation the men are equally judged for their inadequacies in a very humorous manner. Each character is masked and each mask is unique. The mask gives clues into the nature of the character and the actors must physically reflect that in their performance. Everything from foot postures to hand movements reflect the mask they display, in a subtle way a reflection of the mask that we all wear day to day. Laced with innuendo of a mature theme, sensitive or younger audiences may not wish to partake, but it is a joyous exploration and journey through our inadequacies and sexuality. Personally I found this production to be rich with humor, creativity, and artistry and would recommend it without hesitation to an adult audience.
Arlecchino, portrayed by Derek Mesford, reflects enthusiasm and energy as the central focal point of the production bringing everyone together while exploring their temptations; indeed, tempting himself into the fray. The wit and satire during his presentation is both engaging and connected to the audience. Zanni, played by Kyle Harding, is very convincing while making fun of male relationships and attitudes towards women. Coviello (Michael Rader) demonstrated a strong performance along with Seth McNally appearing as Pantalone. Kylee Gano made a fantastic presence as Flaminia, joined by Jasmine Vasion playing Cintia. Diane Krane displayed great mastery of her role as Franceschina. Leandro was performed by Nolan Bumgarner and for his first performance on Center Stage merits credit and praise. The beloved servants are Dylan Disch and Miranda Sitch, who fully add to a fantastic ensemble of players.
Production elements which are vibrant and rich enhance the performance.
The costumes are presented with pure excellence by Mary Rayon. She has been costume designer for nearly 30 years at Center Stage. Donald Correll and Jennifer Cheney provided a rich and enhancing lighting design and elements. Technical director Robert Cochran mastered the arena and the work on a production of this scale would not be possible were it not for the stage manager, Meghann Rice. Many others also were involved in this production which marks the end of the first year in Center Stage’s new arena. I look forward to many more.
Peppered within “The Three Cuckolds” are glimpses into our current world though framed in the past. If you like “Smiling Bob,” then you can really appreciate some of the added tidbits that make this a rewarding and unique performance. One further comment, the choreography and control of motion was very well performed. Be it tossing a prop or utilizing the entire facility, it was like witnessing a ballet with commedia. A lady attending on the opening was asking what it had to do with chickens? Answer, this is not chicken feed. Well done, cast and crew of L.C.C. Center Stage.
Restaurant manager, former Cascade Players board member; director, actor, writer, and host of KLTV’s “Feet On The Street,”, Ray Baker says, “All the world’s a stage!” He lives in Longview.
“No Opera at the Op’ry House Tonight,” but a heck of a hoot at the Loves Street Playhouse!
By Ray Baker
The dusty town of “Desert Rat’ has never been so enriched as by the performance offered by Loves Street p
layhouse. Authored by Tim Kelly, this is set in the old Arizona town, circa 1890, in the melodramatic nature of theater of days gone by. With a degree of satire, wit and enthusiasm, director Melinda Leuthold leads a tremendously talented cast and crew in this audience-involved production.
Melodrama offers many opportunities for humor, missteps, and insights into human relations while having comic relief. On opening night at the Lovestreet Playhouse, the house was full, the laughs abundant, and the experience well worth the time to join in. I have a personal connection to this particular work as I have performed in this show before. I would recommend this family friendly show to any whom may be so bold as to throw popcorn, boo against the villains and cheer for the heroes.
The basic story line is one of greed, hope, love, and discovery. Though melodrama is dated in style, it maintains a charm and innocence which is truly timeless. The villain, Wolfgang Von Wolfpack, seeking to acquire a possible wealth of gold from Alme Pumpernickle, leads us into a tale of intrigues and conflicts humorously with love and sacrifice. Accompanied by a cast of 11 this is one hoot of an adventure with twists and turns, barbs, and entertainment well worth getting the horse out of the barn and taking a trip down the road to see.
Of note are the performances of Lori Anderson, who more than shriekingly portrays Violetta queen of the “Salami” opera company and guardian to Alma, portrayed by Crystal Anderson. Christopher Cleveland, appearing as Wolfgang Von Wolfpack, makes for a great villain who has the genius of involving and jesting with the audience throughout the performance. The villainess, Lily Liverspot, portrayed by Laurel Anderson, is rich and vibrant. Andrew Anderson is a treasure as Claude Hopper. Billy Bright, played by Morgan Kinnear, along with Betty Bright, played by Whitney Anderson, gave strong performances. Hidden treasures in the play are the offerings of Tom Golik, Sheriff Big Gulch; Melissa Mitchell, multiple roles; Kory Grell as Cindy Lou, and a special place in my review for Kirk Snead who also played multiple roles. If you want a laugh, Kirk did it!
On any opening there are technical difficulties, but in the spirit of melodrama it all worked well. From the young man selling popcorn and water, to the hostesses in costume to welcome all, the humor of the cast and crew throughout the presentation was better than anything I have seen from Hollywood lately and this is live and local. The theater in itself has a charm and intimacy which are very welcoming and just “down home” fun. Lighting was appropriate, as were the fantastic costumes. The Olios -- musical interludes -- also were well done. There were some timing difficulties and awkward transitions, a few broken lines, but watch out. This team is going to continue to build upon what they are doing and as for me and mine, I will be going again.
Longview resident Ray Baker is a restaurant manager, thespian, and host of KLTV’s show, “Feet On The Street.” A former member of Cascade Players’ board of directors, the actor, director and writer says, “All the world is a stage right!”
Green Eggs and Ham Served at Kelso High School
Review by Ed Phillips
As it turns out, the meal is pretty good and not only tastes great but is less filling. The musical version of the 20th century’s Pied Piper is on display at Kelso High. “Seussical the Musical” uses characters from Dr. Seuss’s many books to generate book and music from his rhymes. In the interest of honesty I must admit that my almost-three year old granddaughter has been thoroughly Hortonized, so I’m Seuss-icidal.
A platoon of players (68 to be exact) present a musical review that is a composite of Seuss’s most popular works: Horton Hears a Who, Horton Hatches an Egg and snippets from many others too numerous to mention.
The Cat in the Hat as the play’s narrator provides continuity to the review and some spice to the plot. It is a very well choreographed, high energy production. The audience will be naturally caffeinated just staying abreast of the action on stage.
The plot of the show draws from Horton Hears a Who and Horton Hatches an Egg, with tiny slices from many other Seuss works. The Elephant is the star and the success or failure of the review rests on the dramatic skills and voice of Horton. The Rising Star Production struck gold with Caleb Pierce in the starring role. You will never hear an elephant sing better. Mr. Pierce is a major talent and a real local asset. We can only hope to see him in more locally-produced musicals. I was gosh darn impressed. I’d pay to listen to him sing the phone book.
A musical review doesn’t rely on plot but on voices and the quality of the music. “Seussical the Musical” had moderate Broadway success and is a favorite among regional theater groups. Rising Star Productions rises to the occasion and has created a well crafted, cleverly staged production with most voices up to the demands of the show.
Although the original book was designed for an adult cast, many of the roles for this production are filled by adolescents and teenagers and to good effect. After all, these are children’s tales told in rhyme. Some of the younger voices need a bit more projection but that is just quibbling. Everyone gives it a good shot and there are no obvious clunkers. Without exception the acting is excellent. This is no small feat given the size of the cast. Much of the credit must go to the director, Jueanne Meyers, the choreographer, Kristy Larson, and the vocal director, Kristin Ross. I must also mention the musical aggregation: Kristin Ross, Dennis Yalch, and Matthew Meyers. A big sound they are.
Finally, the whimsy is completed by the fantastical costuming of the large cast (major kudos to Stacie Kelley and Jueanne Meyers) and the effective use of the whole venue for the play. Important components of the action occur throughout the theater. Thank you, Director.
All in all, the play is a great way for young people, adults, and fogies to enjoy an evening and at a modest price. $10 for adults, $8 for seniors and $5 for children and you don’t have to by them popcorn or candy at movie prices. The play continues at Kelso High School through the 1st of May at 7:30 PM with two 2 pm shows on April 24 and May 1. For info or tickets, call 360-749-5212.
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.
SW Washington Symphony presents Young Artists Concert, Friday, April 9, 2010
Review by Lynn Taylor
The Southwest Washington Symphony, directed by Ryan Heller, opened their concert Friday night with the Prelude to Act III of “Lohengrin” by Richard Wagner. The title didn’t conjure up any recognition for me, but the melody that was frequently carried by the low brass was very familiar, although I couldn’t have placed where I’d heard it. The piece ended with the four notes of “Here comes the Bride.” It was a grand opening to another wonderful concert by our local symphony.
The remainder of the program before the intermission featured area high school students in solo and ensemble.
The first soloist was soprano Rachel Brown, a senior at R.A.Long High School. She sang “Laurie’s Song” from The Tender Land by Aaron Copland. She seemed to sing effortlessly, with the notes and words very clear. She was able project the emotion of the song even though for the audience it was an isolated, single piece taken out of its surrounding context.
The Symphony’s Principal Second Violinist then took the stage as a soloist. Kaitlyn Lee, a senior at Mark Morris High School, did a very impressive job playing Ralph Vaughn Williams’ “Lark Ascending.” Her first few notes were slightly hesitant, but her trills and runs quickly became confident, and her high notes were clear without a sense that she was straining to reach them. The melody is reminiscent of the bird songs in the woods, and the violin had “conversations” with other solo instruments from the orchestra. The oboe, flute, clarinets, French horn, and bassoon echoed and replied to what the violin was playing. It was a long and challenging piece, played without obvious error, ending with a lovely, clear, unforced very high note.
The third, last, and by no means least, soloist was Amelia Tobiason, a senior at WF West High School. Her chosen piece was “Ah! Je Veux Vivre” (I want to live) from Romeo and Juliet by Charles Gounod. This song sounds cheerful, light, and airy, which contrasts with the title, and with the outcome of the story of the ill-fated lovers. Miss. Tobiason sang beautifully. Her trills were “facile,” and her voice landed on the highest notes instead of straining for them.
The stage then became even more crowded with the additon of the combined choirs from R.A.Long and Mark Morris High Schools. Their first piece was “Hallelujah” from Christ on the Mount of Olives by Ludwig von Beethoven. This “Hallelujah” is not as well-known as that by Handel, nor as familiar as the chorale in Beethoven’s Ninth Symphony, but it should be. The opening phrase by the orchestra is typical of Beethoven’s forcefulness. The full choir then joins in. The music proceeds with a softening by the strings and the women’s voices. It continues with alternating sections of the choir and orchestra singing and playing together. Sometimes they are in unison, sometimes following each other like a round. Each group was very responsive to the directed changes in dynamics, making this a very dynamic piece, indeed.
“Homeland,” based on a tune by composer Gustav Holst, is another work that requires attention to detail as two groups find a way to “play well with others.” It was wonderful to hear the swell of the choirs’ voices accompanied by a similar swell from the instruments. They took us on a well-orchestrated musical journey with frequent and flawless interchanges between the human and instrumental voices.
The first half of the evening’s offerings would have been very sufficient. However, there was more to be heard. After intermission, Conductor Ryan Heller introduced Dmitri Shostakovich’s Fifth Symphony with a little bit of history about the work. Shostakovich was in trouble with Soviet leader Joseph Stalin. He realized that he had to change or perish. His response was to write something that was a parody of music. The result was something that touched the hearts of the Russian people, but the authorities were unable to understand it and therefore took no offense.
The first movement opens with strong notes from the strings. An ensemble of woodwinds joins in, building a sense of expectation. A very low bass line is added, including some of the lowest notes I have ever heard from French horns. The percussion bring in a march rhythm, adding a sense of triumph and victory. The movement ends softly and quietly after solos from the flute, clarinet, oboe, and bassoon.
The second movement is short and brisk. According to Mr. Heller’s introduction, any awkwardness detected was intentional by the composer. This movement contained solos by most of the Principals of the Symphony, who played without any apparent awkwardness.
The third movement was designed to be an elegy, or memorial, to the people who had died in the soviet gulags, or labor camps. The notes were soft, long, and low. There were brief moments of silence in which orchestra and audience alike seem to be holding their breath momentarily.
The fourth and final movement is opened by the brass and tympani and builds to its climax with the percussion. The Communist Party referred to this movement as being victorious. Unbeknownst to them, it was the composer’s way thumbing his nose at them. It is intended to have a sense of forced rejoicing -- be happy, or else. It is his testament to the spirit of the Russian people.
I am sure everyone who was at last night’s concert will make it a point to attend the Symphony’s next concert, and as many of their subsequent concerts as possible. Anyone who missed last night’s concert should make it a point to attend their next concert, which will be in the fall.
As I continue to write reviews of the Symphony’s concerts, I am afraid the reviews may get a little repetitive. The names of the pieces will change, but I doubt that my opinion on the quality of the performance will. Conductor Heller continues to challenge our friends and neighbors who play for him with difficult music, and they continue to rise to the challenge. A friend of mine frequently says about one piece or another, “It’s so blinking hard!” and then she and her fellow musicians play it without any apparent mistakes.
Lynn Taylor is a veterinarian who lives and works in Rainier, Oregon. In her all too infrequent spare time she runs, quilts, and tries, she says, to play the oboe.
LCC SYMPHONIC BAND CONCERT
“Cinema Spectacular”
MARCH 12, 2010
By Lynn Taylor
The LCC Symphonic Band under the direction of Dr. Gary Nyberg presented their winter concert, titled “Cinema Spectacular.” All of the pieces were from movie soundtracks, some familiar, some not.
The concert opened with music from the film Batman. The music started very slowly and softly. It then took us on a wild ride with flying tempo changes from one musical scene to the next, leading to a rousing finish.
The selections from the Italian movie Il Postino featured Dr. Chris Collins on the soprano saxophone. His clear tones gently filled the auditorium, while the band showed its responsiveness to the tempo changes and dynamic ranges.
The next piece was also from an Italian movie, Nuovo Cinema Paradiso. It was another piece with mood swings that the band accomplished seemingly effortlessly, although I know the amount of work that is involved.
Sometimes the moods or scenes were only a few measures long before they changed again. A soloist would play, and the band would reply. Another soloist, and another response from the band. It was a fascinating exchange.
Unlike the previous three pieces that all had a variety of moods and scenes, the music from Out of Africa was a slow movement that evoked the grandeur of the continent that we are familiar with from photographs, or personal experience.
Dr. Nyberg introduced The Magnificent Seven by saying that it was the toughest piece to play. The band played it magnificently. Unlike the previous pieces that all began with slow and soft movements, this one started out fast with some very tricky rhythms that were driven first by one percussion instrument, then another, and then another. During a slow and low section, the well-known theme is played once by a solo oboe. We don’t hear it again until the finale is reached after many other musical scenes. The magnificent finale repeats the theme through all the sections of the band.
The second half of the program opened with a selection from the choral work Carmina Burana by Carl Orff. This music was not originally written for a movie. The composer set to music the words of poems written in monasteries during the Middle Ages. The music has been used in various movies, and recognized by many, even if we don’t know where we’ve heard it. Although there was no chorus accompanying the band, there were places where the “voices” of the instruments sounded human.
The score from The Godfather Saga contains several recognizable refrains alternating with the less well known. One was played through by a solo trumpet, repeated by the oboe, and finally by the clarinet.
The composer Henry Mancini made many contributions to the world of cinema. The medley Mancini Spectcular contained five of his compositions. Although only a small sample of his work, they showed the wide range of his styles with easy transitions between each of them. They are songs that have been used many times after their debut in the movies, so they are well known in our popular culture.
The composition from Sodom and Gomorrah had a majestic and royal feel to it. Although the full band was playing on the slow tempo sections, they achieved a softness to their sound.
The last two pieces on the program featured guest soloist Don Nelson on the clarinet. Mr. Nelson is an R.A. Long alumnus. It is always good to have our native sons and daughters return to let us know that there are those who can make a living at their music.
Mr. Nelson played the second movement from Mozart’s Concerto for Clarinet which has been used in movie soundtracks. His final piece was As Time Goes By from the film Casablanca. In the movie, the song is played on the piano and sung by the piano player, Sam. The solo clarinet very beautifully evoked the smoky, sultry bar scene in Rick’s Café.
Overall, the concert was an interesting mix of well-known movie scores, and less well-known. With so much wonderful music from the cinema, it would be difficult to choose what to include in a concert such as this.
At any concert, it is fun to hear music that we know and like, and good for us to expand our musical knowledge to include something new. Dr.
Nyberg and the LCC Symphonic Band accomplished this Friday night. They reminded us of old favorites and introduced us to some new musical friends. Their masterful playing made it an enjoyable experience from start to finish.
Lynn Taylor is a veterinarian who lives and works in Rainier, Oregon. In her all too infrequent spare time she runs, quilts, and tries, she says, to play the oboe.
Should You Be Wary of Greeks Bearing Plays?
Review of "Eurydice," LCC CenterStage, Feb. 24, 2010 by Laurel Murphy and Ed Phillips
The ancient Greeks have invaded Longview under the guise of “Eurydice,” a modern reworking of Orpheus and Eurydice by MacArthur “genius” award winner Sarah Ruhl. The story has previously been reworked, revised and retold in operas, verse, and most notably movies ( Marcel Camu’s Black Orpheus in a Brazilian setting). Previous permutations on the myth are presented from Opheus’s point of view. The novelty in Ruhl’s permutation is to present the story from Eurydice’s perspective and focus on her dilemma of choice between her lover and her father. It’s clear that Freud was up on his Greek mythology.
The basics of the story are simple. Orpheus and Eurydice are lovers. She dies in an “accident” on their wedding day and is banished to “The Underworld”, the ancient Greek version of the afterlife. She arrives at her new world via an elevator with an internal weather system producing rain (A very clever device, ingeniously staged). She emerges partially protected by an umbrella. The trip to Hades, has cleansed her of the past except for the ability to learn and a vague memory of the first letter of her husband’s name. She has even lost the ability to speak..
Obviously the memory of Opheus is gone.
Upon arriving, she meets her father, who is also dead but grateful for her arrival. He has been trying to communicate with her from The Underworld without success. He undertakes the project of restoring her memory.
In the meantime (there is always a meantime), Orpheus has been searching for his lost lover. He is distraught and finally makes a deal with the Lord of The Underworld You will have to see the play to get the details of the deal.
Remember, this is a tragedy and not an episode of Two and a Half Men.
As previously mentioned the play’s tension revolves around Eurydice’s need to choose a return to real life and her husband or remain forever with her father. No happy ending is in the cards.
Every good Greek play employs a chorus. In this play the choral assembly is three stones ( Big Stone, Loud Stone, and Little Stone). They provide commentary on the character of The Underworld, and they do so in a seriocomic manner.
This modern adaptation of an ancient Greek play may, for many, provide an entertaining introduction to the dramatic form that is the basis for western theater. With some imagination we can hold the Greeks responsible for everything but pizza.
My wife and I had previously seen the play performed by Portland’s Center Stage. The LCC presentation compares quite favorably to the Portland performance. The cast is uniformly strong with exceptional performances by Shizuka Moon as Eurydice and Derek Mesford as Father. The Stones (Lana Nyman, Tim Mitchell, and Corie McDaniel ) are excellent rocks and Corey Farmer is a near perfect blend of comic evil. Given the play’s focus on Eurydice, Seth McNally does what’s possible with the role of Orpheus.
The staging and set are first rate. The elevator and water pump deserve separate billing. We’ve come to expect well directed, well performed plays from LCC’s Mainstage Theater and this effort is no exception.
It should be noted that the 90 minute play is performed without intermission, so men over 50 should plan.
The play will be performing on weekends though the 13th of March at Center Stage in The Rose Center for the Arts. Admission is $ 8 for adults $7 for seniors and free for students of LCC. Learning can be fun.
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.
Laurel Murphy has served since 1999 on the Longview Stageworks Board of Directors. She graduated from the University of Washington before obtaining a law degree from Golden Gate University and also earned a teaching degree from Tulane University.
Symphony concert provides “you had to be there” experience
Review by Robert Sudar of the Saturday Audience Rehearsal for the Sun, Jan 24, 2010 concert
The Southwest Washington Symphony presented its Winter Concert on January 24th at the Rose Center on the Lower Columbia College campus.
There were actually two performances, with the one on Saturday evening, the 23rd, being billed as a “dress rehearsal” and offered at a discounted price. The intimate setting at the Wollenberg Auditorium at the Rose was a wonderful forum for a musical evening that left the audience enthralled and on their feet when the performance concluded.
Conductor Ryan Heller has been leading the symphony for seven seasons, and he continues to challenge the members with music that tests their skills and provides one musical thrill after another for the audience.
The Winter Concert opened with the Leonore Overture No. 3, Op. 32b, from Beethoven’s only opera, Fidelio. I’ve noticed that Conductor Heller often starts the concerts with a selection that fits my musical tastes and sets up the evening perfectly, and this piece was no exception. It’s opening provided great blending of the violins and woodwinds, with a trumpet solo delivered from the back of the auditorium that was unexpected but a fine counterpoint to the offering from the rest of the orchestra on stage. The sounds of bassoon and flute stood out in the later movements, and there was a great conclusion by the strings. I thought it was a wonderful piece, and left me thinking what a shame it was that Beethoven only had a single opera in his repertoire.
The second piece before intermission was Symphony No. 4 in C minor by Schubert, titled “Tragic.” Conductor Heller told us to expect a bold opening movement, followed by a lyrical offering that would evoke a pastoral setting. Strings dominated the beginning with a big impact, but also a familiar feel with highs and lows that evoked a somber feel. The second movement featured the oboe with melodic strings, followed by country themes in the third and more bold strings in the concluding fourth. The symphony performed wonderfully and did the music justice, though it didn’t pique my tastes as much as the opening. Perhaps I’m just not a Schubert fan.
The finale for the evening featured Maria Sampen, associate violin professor at the University of Puget Sound in Tacoma, playing Tchaikovsky’s Concerto in D Major for Violin and Orchestra, Op. 35.
Conductor Heller prefaced the piece by explaining that the violinist whom Tchaikovsky had in mind when he wrote the music refused to play it because of the demands it imposed on the musician, nor was it appreciated by the patroness who commissioned it - hardly an auspicious start for those of us in the audience. But from the opening notes, and especially as Ms. Sampen’s bow flew through the challenging music, I was enthralled by what I was hearing. It was remarkable what a variety of sounds the music demanded from the violin, and how capably the violinist met those demands. The first movement was greeted by applause at its conclusion, a completely deserved showing of appreciation by the audience even if somewhat unusual in a classical performance.
The second movement was just as impressive. The symphony was providing wonderful support throughout the piece. There was a great flute solo, and a wonderful woodwind round of oboe, bassoon, flute and clarinet, each in turn, that was repeated several times. There was also a delightful plucked string segment by the violas and a final horn offering. But the night truly belonged to Ms. Sampen and her violin. I can’t adequately convey in words the amazing sound of the music that she and the symphony provided. All I can say is that it was a rare “you had to be there” moment for me in my musical experiences. It left the audience on their feet, delivering an ovation that all of the performers richly deserved.
I’ve been attending performances of the Southwest Washington Symphony for almost 30 years, ever since my wife and I moved to Longview. I’ve enjoyed their music as they’ve matured over those years, especially the last 10 or so when they’ve really come into their own. This concert was certainly a breathtaking example of what they bring to our local community. To those of you who shared it with me, I hope you found it to be just as exhilarating, and memorable a performance, as I did.
The Symphony’s next concert is set for Friday, April 19. Mark your calendars and treat yourself to an evening to remember.
Robert Sudar lives in the Fallcreek area west of Longview. A maintenance supervisor/engineer for Longview Fibre, he also operates a tree farm with his wife, Lisa, and is active in the commercial fishing industry. He enjoys cooking, gardening, birdwatching and reading.