Pueblo's Previews and Reviews

‘Dreamcoat’ teamwork pays off

2009-07-20T18:07:00.000-07:00

By JOANNE DODDS
THE PUEBLO CHIEFTAIN

My dear fellow Puebloans, our talented young people need you! The usually sold out Summer Musical at the Sangre de Cristo Arts & Conference Center has seats available for tonight and the 20th through the 23rd at 7:30 p.m. The show is very good and the kids are great. Go. You will be glad that you did.

While we are on the subject, all of the arts are hurting nationwide. While I have a thing about math and reading skills, the arts are equally important. It is not enough to read the words. True understanding requires imagination, creativity, and exposure to the “Arts”. If our children are to be all that they can be, then participating in and experiencing live performances is essential and it starts with shows like the Summer Musical.

“Joseph and the Amazing Technicolor Dreamcoat” is the 51st. Summer Musical. Directors Wayne Genova and Donna Stinchcomb have been doing it for 26 years and their teamwork has paid off.

The large cast, recruited from Pueblo City Schools, did complex dance routines, knew every word to the songs and exuded a sense of fun which is hard to do when you are very young and on stage. Children’s Musical Director Tina Emmerson did a fine job with the wide range of young voices. The set design by John Wilbar and Nic Roberts was as good, if not better, than some of the Broadway Theater League sets. The costumes were at times pretty and at times funny. The program included a plot synopsis, a musical synopsis and all the other features that prepare the audience to enjoy the performance.

And, what a performance it was! At the end of play I overheard a woman say that she was tired when she came in but now she felt great! It was that kind of a show. From the opening notes of the Overture, played by the 17-member orchestra, under the direction of Michael DeLuca, the play was light-hearted.

Mixing Biblical times with the present gave the play a wacky tone that resonated with the cast. “One More Angel in Heaven Hoedown” featured the entire cast, as did most of the play.

Ninety percent of the play was a team effort but there were notable moments such as Torren Friberg and Sierra Reynolds during the hoedown, Carly Torres as Mrs. Potiphar chasing Joseph through a line of the Wives, Nick Radford as Jacob, Andrew Alfonso as the Butler and Dane Anderson as the Pharaoh/Elvis during the “Poor, Poor, Pharaoh” song. The “Cannaan Days” dance by Rebecca Higgs and Austyn Simpson was well done.

The biggest unit of the team were the very talented Brothers! They were Torren Friberg, Nate Adams, Dane Anderson, Joshua Dasher, Tyler Barnes, Andrew Alfonso, Cody Saunders, Austyn Simpson, Josh Smith, Christian Nafziger and Matt Comden. Coming as a close second were the equally talented Wives. They were Sierra Reynolds, Elizabeth Scoggins, Carly Torres, Alexandra Pepin, Kaitlyn Cook, Jerica Khosla, Rebecca Higgs, Shayla Margison, Ashley Minnich, Natalie Stanaway and Marie Kidd.

Saving the best for last, Jenilyn Bartolo and Kimberly Sewell as the Narrators were a wonderful mixture of shepherds of the younger performers, talented on-stage actors and singers of great talent. Both women are now in college pursing careers in music.

Zachary Friberg was Joseph who wore his coat of many colors with skill beyond his years. His singing voice was rich and deep. Every time he was on stage, the audience’s eyes were drawn to him. He was the talented star that held the show together. Bravo!

Article available from The Pueblo Chieftain

The Pueblo Connection/Patti Gallagher’s Musical Notes

2009-05-01T06:20:00.000-07:00

By John M. Valdez, PPAG Reviewer

What does a Noble Prize and Academy Award winning Irish author, Two musical guys from New York, and some singers in Pueblo have in common? They all had some part in bringing a night of music to La Renaissance Restaurant. Patti Gallagher's Musical Notes brought the music of Lerner and Loewe to the excited but sparse crowd Thursday night. Lerner and Loewe have given us some of the most popular and best Broadway shows like My Fair Lady, Brigadoon, and Camelot.
Lerner and Loewe have delighted audiences for generations, from their first stage production in 1942, Life of the Party. To their final collaboration in 1974’s musical film The Little Prince. Without a doubt, their most famous and well-known show was My Fair Lady, based upon the play, Pygmalion written by the afore mentioned Irish author George Bernard Shaw. Shaw won an Oscar in 1934 for the screenplay of Pygmalion, based on that play.
As usual Mrs. Gallagher was outstanding doing what she does best joining her on stage was Brent Ritter who is constantly great and whose amazing tenor voice filled the space. Jenily Bartolo a complete and utter delight she shinned on "Show Me." The two standouts of the night were the youngsters of the group. Tabitha Rooney with her gorgeous and striking voice will surely go far. Thomas Runyon will most defiantly be one to watch. He was a joy to listen to, especially on his performance of "The Street Where You Live." The stunning list of songs included such Lerner and Loewe classics as, "I Could Have Danced All Night," and "Grown Accustom to Her Face," from the award winning My Fair Lady, "How to handle a Woman from Camelot," "Thank Heaven for Little Girls," from Gigi and one of my personal favorites from Brigadoon, "Heather on the Hill."
Mrs. Gallagher a Pueblo native and star of stage and screen returned to Pueblo and along with her equally famous and talented husband Ed created Musical Notes. Since its creation in 2005 they have been doing all they can to raise the spirit and awareness of arts, music and culture here in the Pueblo area and we all owe them a hardy thank you.
Providing the music for those on stage were the very well known, and talented Barbara and Michael Beck co-directors along with the Gallaghers. You would be well pleased to see this array of talent gracing this stage. So gather up the heather, root for Dover and enjoy Patti Gallagher’s Musical Notes’ tribute to the music of Lerner and Loewe.

What: Patti Gallagher’s Musical Notes
When: Friday and Saturday May 1-2
Time: Dinner 6:45pm, Show 7:45pm
Cost: $40 per person

Students Impress at "Jazz Night"

2009-04-23T08:55:00.000-07:00

by Ed & Patti Gallagher, PPAG Reviewers

A wonderful event took place Saturday evening, April 11th, at the Olde Town Carriage House. Al Eberhardt brought two magnificent Jazz Bands from Colorado State University-Pueblo to a better environment for jazz.. Hoag Hall, at the University, is a very good venue for many shows but it does not lend itself to a performance of jazz bands. On the other hand, the Olde Town Carriage house is perfect because of its casual atmosphere with many tables for refreshments and a dance floor that allowed people to “get up” and dance to the super music including one father who danced with his child who was about two years old..

The evening included two different bands, CSU-Pueblo Jazz II, with Al Eberhardt directing and the CSU-Pueblo Jazz I directed by Brad Eastin. Jazz II played seven numbers from Bluff Point (John La Barbera) to You and Me Against the World (Paul Williams) to Sidewinder (Lee Morgan). All arrangements were so very “danceable.” It amazed me that most of the members of the band were students with only a few “pros” sitting in. Brad Eastin conducted the Jazz I group with nine numbers, less familiar jazz (less familiar to me), with several arrangements by Bill Holman (Arranger for Stan Kenton). And the dancing continued.

I was particularly impressed with Speak Low (K. Weill and Bill Holman), but there was great enthusiasm expressed by the audience for each number. Soloists, too many to mention, were unbelievably outstanding. I, coming to Colorado from Los Angeles, believe that both of these groups would be sensations in L.A.
The University has a superb Jazz Section in the Music School. With such outstanding professionals as Al Eberhardt and Brad Eastin (both alumni from the Air Force Academy Band) leading the teaching of jazz performance, the University needs to publicize the music department much more.

Al Eberhardt stated that these performances, in cooperation with the Olde Town Carriage House, are planned to be monthly events. Watch for the dates. Don’t miss the next one…You will not regret one minute of this experience.

CSU-Pueblo Chamber Ensemble and University Orchestra

2009-04-21T13:48:00.000-07:00

by Sam Cogburn, PPAG Reviewer

In the five years that I have been attending CSU-Pueblo as a music major, I have had the privileged opportunity of watching our department grow. Nothing I’ve experienced has led me to realize this growth in the department, more than the chamber ensembles and university orchestra concert at Hoag Hall on April 15th. We most certainly have come a long way in a few short years. Not only in the sheer number of students, (particularly in the strings category), but also in the level of artistry achieved. This is credit to our leaders in the music department, along with all the professors and private teachers, and particularly to Dr. Jacob Chi with the amazing job he has done with the orchestra program.

The first half of the concert consisted of four small chamber groups; two string quartets and two trios, all playing a single movement from larger works. The program started off nicely with a piece by Shostakovich, (a twentieth century Russian composer who wrote extensively for the string quartet). The group played very admirably, doing a great job with intonation especially considering the strange tonalities in the music and also some enjoyable solo work by each player at one time or another. This was followed by a short, delightful Schubert piece, and next a Minuet by Beethoven. Both groups delineated the sections quite well with good contrasts in style, although struggled slightly in places with intonation. The last small group to play ended with a lyrical and beautiful Andante by Tchaikovsky. The piece provided a contemplative end to the first half, played with high sensitivity. More presence from the first violinist in this last group was needed, along with a higher sense of phrasing and rubato, especially for the big cadences to end large sections.

After intermission, the university orchestra opened with the Overture to the opera Magic Flute. The orchestra director Dr. Jacob Chi provided the audience with insightful introductions to the pieces throughout the night, and was in fine form when leading the group. I had the privilege of studying conducting privately with Dr. Chi for a semester along with taking some required courses with him. It’s my belief that his artistry and musicianship as a conductor is of the highest level. He always moves effortlessly in ways that reflect the music beautifully without forgetting the technical aspects so that the group is able to follow him. Couple this with his oversized personality and it makes for a great leader.

Perhaps the highlight of the evening came in the next two pieces when first, Rebecca Phillips (violin) played the Allegro from a Mozart concerto followed by Lauren Bell (cello) playing two movements from a Vivaldi concerto. Still in high school, these two young ladies were the winners from the 2008 Southern Colorado Honor Orchestra Concerto Competition, and their playing demonstrated why. The Mozart played by Ms. Phillips was full of style and lyricism ending with a dazzling and lengthy cadenza. Ms. Bell opened with the slow movement (adagio) of her piece first, setting the profound tone of this work in Cm early, and then ended with a much more active Allegro ma non molto. Congratulations to both of these highly talented two young artists, it is really great to see this level of musicianship coming from the young people of our community.

Next came another piece by a smaller chamber group. It was the Aria from Villa-Lobos’s Bachianas Brasileiras No. 5 for Soprano and orchestra of violoncelli. Also joining the group were three double bass players, all led by Dr. Chi. CSUP music faculty member Barbara Beck sang the Soprano part. As a guitarist, I know this piece quite well as it was arranged for guitar and voice and is part of our standard repertoire. I was ecstatic when I saw it was on the program with its original instrumentation, something I had never heard before. It is a beautiful, romantic piece, with flowing melodic lines and lush harmonies. Ms. Beck was wonderful along with the principal cellist for this group, Stephanie Boese, who had extensive solo work with the melodic material, very pleasing indeed.

Before discussing the last piece, some of Dr. Chi’s recognitions to students should be noted. Concertmaster Erika Devins was recognized for her work and leading role in the orchestra, and also Theresa Richards (flute) and Daniel Smith (bass) were recognized for their achievements on their respective instruments and for their graduating status. Ms. Richards is planning on attending a school for flute playing in England with William Bennett in the near future, and Mr. Smith will be attending graduate school in Fort Collins this fall.

The last piece of the evening was the Carmen Suite No. 1 by Bizet. Taken from his 19th century opera, this music is light, fun, and certainly is a standard in the orchestra repertoire. The orchestra performed wonderfully, finishing with a crowd pleaser.

The full program on the night of the 15th was certainly an enjoyable one. Having attended a few orchestra concerts when I enrolled in school at CSUP five years ago, I am simply amazed at the development of our program. Congratulations to everyone involved!

Imps Have a Hit with Kimberly Akimbo

2009-04-13T08:43:00.000-07:00

By Sarah Bruestle, PPAG Reviewer

Five characters, multiple issues, one stage and a teenage octogenarian connecting them all. Kimberly was born with a genetic disorder from which she ages four times faster than normal. This comedy catches Kimberly around her sixteenth birthday. “Kimberly Akimbo” by David Lindsay-Abaire is being performed by The Impossible Players in April.

Beginning the play with lyrics of “I won’t grow up”, this play illustrates the life a teenage girl coping with her aging and frail body in addition to dealing with her family’s dysfunctional interactions. A pregnant hypochondriac mother, an alcoholic father, a scheming aunt, and a friend yearning for attention from his father. Laura Hays plays Kimberly, the sixteen year old who looks like she is going on 80.

The simple, functional stage allowed for easy transitions to observe the characters’ interactions in their home, car, or library with minimal set changes. Sound effects and lighting added to the story. The character appropriate costumes showed this family in their daily clothes. Make-up allowed the audience to see Kimberly age, yet her attire was that of a teenager. If it weren’t for her fragile walk, aged face, and grey hair the audience would swear they were watching a teenager on the stage.

Watching the cast grow-up, whether expedited by ailing health or personal decisions, you are guaranteed to laugh.

Performances April 16, 17, 18th, 8pm at Impossible Playhouse, 1201 N. Main St.
Tickets $10-Adults, $7-Seniors/Military, $5-Students, Call (719) 542-6969.

Grease a Revival of the 50's

2009-03-20T11:19:00.000-07:00

by Patti and Ed Gallagher

The Steel City Theatre Company in cooperation with CSU-Pueblo Music Department presented a production of the musical “Grease”, opening on Thursday, March 19th at Hoag Hall on the CSU campus. It was an enjoyable presentation ending with a standing ovation. The show had many memorable moments, especially with much physical humor and wonderful dance sequences. The comic dialogue sequences, however, lacked snappy pacing with many deadly short moments of silence and were staged too far upstage away from the audience.

The show included a very large cast that caught the flavor of the 1950’s. Unfortunately, the diction of many of the cast was unclear although this did not include the enunciation of the leading characters, Sandy, played by Bethany Nafziger and Danny, acted by Curtis Fleecs, both displaying good singing voices. Bethany’s interpretation of the “nice” girl was underplayed but, at the end, when she was transformed into a much more appealing and aggressive persona, she was splendid. Curtis, the leading Greaser” was a consistently convincing character. Jenilyn Bartolo played Rizzo who succeeded in portraying a “naughty” young lady and did an outstanding job in singing and in preparing the audience for her transformation from the rivalry with Sandy to an influential friend. The singers were well prepared by Barbara Beck and the orchestra, directed by Alan Mills, was well balanced, never overpowering the singers. A few times it appeared that the microphone was turned off on the soloists making it difficult to catch the meaning of the songs. Especially effective were the dance sequences at the end of Act I and again at the end of Act II. There were so many characters that it would not be possible to review each, but outstanding performances were given by Jenni Barrett as Cha-Cha, Michaela Shults as Jan, Tanner Munson as Doody and very amusingly, the “Greasers”. There were excellent “cameo” performance by James Amos and Linda Harpel.

The setting, a large painting of a 1950’s juke box surrounded by staircases, was painted exquisitely but the use of the full stage of Hoag Hall was a mistake. Although it was intended to give space for the many dances, the forward part of the stage could have been utilized to greater advantage. Also, placing the wonderful orchestra in the remote part of the stage was a error because it should be a much more vital part of the production, not a necessary evil.

Grease will be performed Saturday and Sunday, March 20 &21, 7:30pm at Hoag Hall. Tickets are $5 and can be reserved by calling 719-289-0293.

'Pied Piper' bids Fernando adieu

2009-03-19T12:37:00.000-07:00

By SCOTT WHITED
THE PUEBLO CHIEFTAIN
The pied pipers of the Sangre de Cristo Ballet Theatre for nigh onto the last decade have been the wife-and-husband team of Artistic Director Karen P. Schaffenburg and her husband, Artistic Adviser Fernando Schaffenburg. Fernando is best known to the Pueblo public as Herr Drosselmeier, the mysterious enchanter that he played for many years in SBT's annual production of "The Nutcracker."

Sadly, a week ago Friday, Fernando Schaffenburg went to join the Great Ballet Company del Cielo at the grand old age of 83. Saturday's performances of "The Pied Piper of Hamelin," the latest entry in the Children's Playhouse Series at the Sangre de Cristo Arts and Conference Center, were dedicated to his memory. His former charges did him proud.

The hour-long production told of the popular folk tale in which the title character rids Hamelin of an unpleasant infestation of mice. When the town council refuses to pay up, the piper lures all of the town's children off and away, ne'er to be seen again.

The moral for the hundreds of children in the near-capacity crowd? Always pay the piper. Whether they understood the moral or not, most of the children - and their accompanying adults - enjoyed the goings-ons.

Emily Aldag as the Piper and her Lieutenant Piper, Rebecca Van Dover, were green-clad in tights reminiscent of this weekend's St. Patrick's Day festivities. They entranced both their mice and children targets with lithe aplomb, especially Van Dover. The plethora of pesky mice was led by Sydney Gettel as the Queen Mouse and Megan Duling as the Princess Mouse. Gettel has matured into possibly the company's finest young ballerina, and this performance was demonstrative of her lovely dancing skills. She was precise in her footwork, beautiful in her posture, and warm in her personal presentation. Duling was a delightful complement to Gettel. She is quickly blossoming into one of the corps' stalwart fixtures.

The "Rainbow" of Paige Cipperly, Grace Lobato, and Cissy McDaniel brought entertaining elan to their featured dance, sporting solid-red, solid-white, and solid-blue full-length leotards as the Piper wound her musical web around their befuddled resistance. They combined bemusement and amusement in proper teen-age proportions.

The balance of the troupe, consisting of some 40 members, acquitted themselves well, their brightly energetic performances complemented nicely by a simple-yet-effective set design by Timothy F. Gately and a wide variety of complementarily colorful costumes designed by Jennee Duling.

Fernando and Karen Schaffenburg worked closely with Sydney, Emily, Paige, Grace, Megan, Cissy and Rebecca, as well as most of Saturday's other performers, over an extended period of time. Their expertise and guidance will continue to bear fruit, even now that one of them has moved on to a greater gig.

Vaya con Dios, Herr Drosselmeier.

Chorale’s ‘Creation’ a Contemplation (unabridged)

2009-03-11T16:10:00.000-07:00

Scott Whited
THE PUEBLO CHIEFTAIN REVIEWER

As God hath created order out of primordial chaos, so the Pueblo Choral Society hath brought impressive harmonic arrangement out of a disparate group of local musical entities.
The Chorale presented Franz Josef Haydn’s “The Creation” Saturday evening at Hoag Recital Hall on the Colorado State University-Pueblo campus. A near-full house was treated to not only the full-throated Choral Society itself, but also to a number of guest artists: CSU-Pueblo’s Concert Choir; Pueblo County High School’s “Voices of ‘09”; and especially a 36-member Guest Orchestra assembled by Dan Masterson and under the guidance of Concertmaster Ilya Shpilberg. The result was a musical experience not often encountered by local audiences: a classic oratorio, the focus of which was the creation story as depicted in Genesis.
An extended orchestral overture entitled “The Representation of Chaos” brought a dramatic tension to the evening’s first moments. Called a “musical depiction of a beauty almost frightening in its chromatic and dissonant texture” by renowned composer Leonard Bernstein, the sequence transformed to a more familiar harmonic structure as the piece moved to the primary performance device of the evening – a series of soloists singing extended lyrical passages from the Biblical text.
Bass Brent Ritter portrayed The Angel Raphael, commencing the vocal music with the eternal “In the beginning God created the heav’n and the earth.” He was followed by tenor John Blinn as The Angel Uriel and soprano Rose DePalma as The Angel Gabriel. The three celebrated God as He brought forth the light, the rain and snow, the land and rivers, until “with verdure clad the fields appear.” Punctuated and beautifully augmented by the combined choirs and the orchestra, by the end of Part I, many in the audience felt communion with one of the more powerful passages: “They marvel at the wondrous work with awe and joy, the hosts celestial.”
Though not celestial, the hosts terrestrial soared as though their voices were wingèd.
In Part II, God brought forth the great whales and flutt’ring creatures, and every living creature after his kind. But the whole was lacking still. The Angels Uriel and Raphael told us of God that, “Male and female created He them, and behold, it was very good.”
The combined musical forces could not hold back at this foundational animation of that which had been without Life, bursting forth with a crescendoing “Achieved is the glorious work. The praise of God shall be our song. Glory be to the Creator, forever be His name exalted, Hallelujah.”
Part III featured mezzo-soprano LaShele Warren as Eve and baritone Charles Rann as Adam. They were both much appreciative of the Creator’s largesse and vowed to Him that they would “praise Thee now and evermore.” The assembled musical multitudes seconded that emotion, and a well-deserved standing ovation was heard round about.
To partake of a monumental sacred work by a major classic composer, one that will celebrate the 210th anniversary of its premiere in just 10 days, is both uplifting and somewhat disconcerting. Language and music such as this is elemental, moving past sensory interpreters directly to primal nerve centers. The vibrating vocal chords and violin strings give embodiment to making one’s hair stand on end.
And yet we are creatures of habit. More appropriately, we are creatures of popular culture. The extended solos, beautifully sung though they were almost uniformly, became – at times – tedious. Where was the hook? Where was the middle-eight? Ah, here is the authority of the scores-strong choir, overwhelming our doubts with mesmerizing power.
The fault – to the degree there may be one – is not in our (pop) stars, but in ourselves. Artistic Director Mark Hudson made a bold choice for one of his last outings as conductor of the Choral Society, and the entire ensemble is to be commended for challenging its audience – to rewarding results.
One final observation: it was noted with happiness by more than one patron that it was a joy to see younger performers such as DePalma and Warren take their well-deserved places in the PCS spotlight.
The Pueblo Choral Society’s next performance is “The World of Love” on April 25 at the Pueblo Convention Center.

Imps stage must-see 'Murders'

2009-02-24T13:20:00.000-08:00

Joanne Dodds
PUEBLO CHIEFTAIN

Call your friends and relatives: The Impossible Players are doing a first-rate, world-class, you-must-not-miss-it play.

The title, "Musical Comedy Murders of 1940," is a turnoff but the play is wonderful.

First of all, it's not a musical. There are a couple of clever, written-for-this-performance lyrics, but that's all. Instead, it is an Agatha Christie-style mystery surrounded by a comedy. Every comic device from slapstick to tricky dialogue is used to perfection.

One of the stars of the performance is the stage design by David Massmann and Tom Massmann. On first glance it looks like a library in an old mansion. The books and chairs are just what you would expect. As the play progresses, you learn differently. Old mansions always have secrets.

The 12-member cast couldn't be better. Each character added a dollop of reality to each scene they were in. Added together, they were a tasty treat indeed. The reluctant hero (Paul Abeyta) early in the play explains to the heroine (Amber Gene Stupnik) that he is a comedian and comedians are not heroes. Naturally, the heroine is beautiful, and not what she claims to be. Together, they lead the others players through a story with more plot changes than a soap opera.

The mansion's hostess and patron of the arts (Mandie Victor) has invited everyone to her mansion on a dark and stormy night, complete with blizzards and lights that go out. She is delightfully batty. Her partner in crime is the Inspector (Dale Tate) who adds a bit of sanity to the crazy cast.

Normally I am not very fond of drunks, but Therese Simony as the tipsy writer was a hoot. She captured the self-absorbed theater personality to a T. Her lines are perfect. When the song writer (Steve Adams) says that he is not imitating Jerome Kern, she clarifies that is true but he is imitating others. She then does a short "who's who" of the 1940s musical comedy theater. Theater buffs will love the "gee I know that" moments throughout the play.

The director (Jeff Garman) had just come from Hollywood where he directed films that everyone claimed to have seen but hadn't. He was just as stuffed up with himself as one would expect.

The maid (Adelita Fierro) was at times charming, at times sexy, and often downright scary. She was a little hard to understand but you got the gist of her dialogue.

Every play has to have a producer (Trish Thompson) and rumor has it that more than one actor has wanted to kill this one -- hint, hint.

To round out the cast there was an Irishman (Jack Passanante, Jr.), whose play credits were mysteriously vague, and two phantoms (Dawn Thompson and Bill Wright).

It must be repeated that everyone made a real contribution to the success of the play.

The real directors of this delightful event were Tom Massmann and Kelley Buck-Adams. Whatever they are doing next, I want to come!

The remaining performances will be at 8 p.m. Saturday and Feb. 26-28. Call 542-6969 for reservations.

Musical Comedy Of Murders Review

2009-02-20T19:28:00.000-08:00

John M. Valdez, PPAG Reviewer

Do you remember what you were doing in April 1987? I was in a rush to prepare for my high school graduation. OUCH! Meanwhile “The Musical Comedy of Murders of 1940” was premiering on Broadway in New York. Its author John Bishop directed it. The show is a tribute to the sylish and intricate murder mysteries of the 1940’s. The complex murders that only seem to happen in the dark mansions of rich and important people. Shocking murders, which can be solved only by great men like Sherlock Holmes and Phillip Marlowe.

The Impossible Players continued their 2008 season on Thursday Feb. 19th as it opened its production of this intriguing farce. The sparse but supportive crowd enjoyed the show their enjoyment was helped by the energy and skill of the actors on stage.

The entire play takes place in the Chappaqua, New York Mansion of Ms. Elsa Von Grosseknueten. Acted brilliantly by Mandie Victor. She has invited a group of theatre people to her home in the guise of an audition. Many are connected to a notorious unsolved sling of murders in traveling show called Manhattan Holiday.

While there two murders take place. As the play progresses we learn more and more about the characters each of whom has reason to be the infamous Stage Door Slasher. We are kept on the edge of our seats in wonder till the end of the show.

The cast seemed to have a bit of opening night jitters and for a while it was a struggle to hear some of the dialogue, and the comic timing was a bit off. But all recovered very nicely. As the cast grew more comfortable in their roles the laughter and excitement became stronger.

The standouts in the show were Mandie mentioned above. She took the role of the wealthy patroness with too much time on her hands to heart and shined. Listening to Mr. Jack Passante Jr. playing with a number of accents was a gem. Playing two great theatre clichés of the writers were Therese Simony as Bernice Roth and Steve Adams as Roger Hopewell. Both seemed to relish and enjoy their roles. The major sparkle of the stage last night was Adelita Fierro as Helga. Without giving anything away her range on stage was a joy to watch.

The show can be seen Feb. 20, 21, 26, 27 and 28. All show times are 8:00 pm doors will open at 7:30. Tickets are $10 for Adults, $7 for seniors and members of the Military, and $5 for students. Tickets may be purchased at the door or call 719-542-6969 to make reservations.

Scrooge, the Carol with an Attitude!

2008-12-18T10:38:00.000-08:00

John Valdez, PPAG Reviewer

It is not very often that something written 165 years ago can still have relevance in today’s fast pace society. December 19, 1843 London was flooded with over six thousand copies of Charles Dickens’ A Christmas Carol. Born in 1812 Charles Dickens was in great debt most of his adult life. The story was an instant success for the struggling author.

And like Dickens, Musical Community Productions is struggling for the notoriety it deserves. Well watching last night production tells me it’s coming soon. Director Raeann Herrick has been with the group for all its 18 years. She stated that this show is a collaboration of many different adaptations of A Christmas Carol. This company puts all its labor into one show a year, this year with “Scrooge! The Carol With An Attitude!” they have picked a winner.

As the story moves along you are flooded with wonderful dance and song. The barefooted street urchins are a delight and have fun running around the stage and even more fun taunting the old Ebenezer himself. The sets and the costumes leap out at the audience and pull us into late 19th century London streets.

The use of wireless microphones was a help, but at times the feedback was a bit tough on the ears. Despite the wireless mics, some of Scrooge’s (Clay Fitzsimmons) dialogue was at times lost, but he did a wonderful job of showing us an old miser who had lost his way when still a young man.

The singing and dancing are indeed the highlight of the show. And the quality of the voices is a delight to the ear. A few stand outs who deserve mention are young Scrooge, Josh Dasher, and young Belle, the love of his life, Sarah Seman. Their stage chemistry and talent help bring to life the pain scrooge felt as he realized his mistake of long ago.

Even with the number of adaptation the central message of the Dickens' classic remained in tact. The tragic tale of a young man so frightened and fearful of the grip of poverty, he became obsessed with money. This fear, lead to the abandonment of everything else including his one true love. Although the religious undertones and message were at times a bit much, the story can still be a delight to young and old of any generation.

The two exceptional performers of note were The Angel of Christmas Present, Bruce Salisbury. His song “I Like Life” could easily get the audience singing along to, “If life were a woman she would be my wife.” The finest performance on stage last night was without a doubt young Zachary Friberg as the soup salesman, Tom Jenkins. His singing and dancing during “Thank You Very Much.” was terrific and his Cockney accent was right on mark.

Come enjoy this wonderful and exciting performance at Sangre De Cristo Arts Center. Show dates are December 18th and 19th, 7:30pm. And matinee shows on Saturday December 20th at 1pm and 4pm. Tickets are $10 and can be purchased at the door or by calling the box office at 719-295-7222.

Pueblo’s 31st Annual La Posada

2008-12-14T10:43:00.000-08:00

By Cleo C. Corsi~Zarr, PPAG Reviewer

On this cold and windy afternoon a shining representation of our community’s children wrapped dozens of on lookers into the tapestry of Pueblo’s history and culture. Dances reflective of Pueblo’s Mexican Heritage culturally traveled south into the America’s, born and fed from the hearth of an adobe oven.

Mary and Joseph were then welcomed into our hearts, and the donkey was made ready for its long trek from the Patio of Pueblo’s Convention Center up Main Street to the steps of our County Court House. At first I felt the walk was going to be too long and too cold. However I was quickly swept into the song and community that gathered along each corner of La Posada.

As we came upon the Manger, the choirs from our community’s schools joined with Pueblo Chorale in filling the crisp night air, with beautiful Christmas Carols. Three Wise men from the Pueblo Performing Arts Guild participated in a resounding reenactment of the Nativity for Christmas 2008.

As a few hundred people watched on, a small boy from the audience ran up to see the Baby in the manger, at once running back to share the news ‘there was no Baby in the manger’! Mary and Joseph were informed they needed to find the Baby. As they muffled their mirth Joseph leaned forward to pull the baby from behind his seat and quickly placed Him into the manger.

I can honestly share that due to a recent death in the family I was not in the Christmas Spirit. This was my first La Posada Celebration - it is destined to become a family tradition.

Make sure to catch next year’s La Posada performance – I will see you there!

'Christmas Story' is fun, nostalgic and a must see

2008-12-13T10:05:00.000-08:00

PUEBLO CHIEFTAIN
PIERRE KENYON

Friday night's performance of "Christmas Story" by the Steel City Theatre Company, staged at Hoag Hall on the Colorado State University-Pueblo campus, helped spur along more than a bit of Christmas spirit.

The play was based on stories by the late Jean Shepherd and set some 70 years ago in a small town in Indiana.

A good audience of about 100 really seemed to enjoy themselves.

The story of the play centers around a young boy with an intense desire to receive a particular Christmas present. James Amos, as the adult man, narrated throughout from various places on stage. Amos was a real tour de force as he reminisced about his Christmas quest many years before. Tracey Mattoon-Amos is solid as his mother with earthy wisdom and good humor. The young boy, played by Christian Nafziger, does a fine job.

There is a real flavor of small town life that emerges in a time when life was somewhat simpler.

However, it's the kids, and there are lots of them, who dominate the stage. They are just great.

In particular, Joshua Smith as Randy, steals quite a few scenes.The kids get into scrapes rather often but managed to survive. Direction by Jason Laughrey is especially effective in placing the youngsters in various locations of the stage throughout the play.

Laughrey also was impressive as the young boy's father.

All in all, this was a charming performance with loads of good humor, quite suitable for the whole family. There is a definite feeling of nostalgia that comes through allowing many in the audience to get caught up in the spirit of a Christmas many years ago.

The only point I'd be inclined to make is that the performance is just a tad long comprising nearly three hours. However, it holds your attention throughout.

Performances continue tonight and on Dec. 18-20 at 7:30 p.m.

Sarah Shaw’s “The Magic of Snow”

2008-12-09T10:02:00.000-08:00

ED GALLAGHER

I have witnessed many dance studio/school performances from New York to California and Sarah Shaw’s “The Magic of Snow” is, by far, the best performed, organized, most beautiful and entertaining that I have ever seen. And, it was a gift to the community.

The show was at the Pueblo Municipal Auditorium, with three performances, on Saturday and Sunday, December 6th and 7th and played to almost totally full houses. The precision of the dancers was outstanding in all 33 scenes, most of which were only one or two minutes long.

Unbelievably, there were more than 600 persons involved in this endeavor whose ages ranged from 2 - 3 years oldto highschool students, to “whatever.” Most of the segments were well coordinated tap dances, some wonderful Irish numbers and a potpourri of styles a la “The Nutcracker.” One scene involved some Fathers and Brothers of the dancers. It would be very difficult to comment on individual performers because all of the numbers were ensemble pieces,
with no way to discern individuals, but it was obvious that many of the dancers deserved individual praise.

Very seldom does one think about the movements of performers on and off stage, but the visible coordination of such large groups was superb, especially with the “wee” ones. In addition, the lighting and sound cues came off without any faults. Bravo. Pueblo is fortunate to have several superb dance schools. However, not many young boys are taking advantage of this opportunity. Come on, boys— Do you want to meet the most beautiful girls in Pueblo???

The stage setting by Jeff Juba was absolutely gorgeous and ingeniously lighted with small, colored spotlights hidden behind the props in addition to thousands of mini lights suspected from the flies. Unfortunately, the Municipal Auditorium is NOT equipped with modern lighting equipment and the lights were either on or off with no possibilities for artistic effects. Traveling shows, of course, bring their own lighting equipment as they do in all auditoriums. Our auditorium suffers greatly from two factors: terribly inadequate lighting equipment and, although this does not apply to “The Magic of Snow”, air conditioning is an absolute essential in any modern auditorium, Although our economy is in a perilous time, the City needs to be planning the upgrading of this wonderful venue.

'Peace on Earth' a delightful show

2008-12-08T08:56:00.000-08:00

SCOTT WHITED
PUEBLO CHIEFTAIN

The Christmas season is upon us, ergo it's time for Christmas music.

The Pueblo Choral presented "Peace on Earth: A Christmas Concert" to the Pueblo community, represented by the large crowd in attendance, yesterday afternoon at Praise Assembly of God church on Troy Avenue. Including the 35 children of the Pueblo Children's Chorale, the event featured over 100 voices offering up a fine variety of seasonal melodies, both sacred and secular.

The adult choir, conducted by Artistic Director Mark E. Hudson, started the program off with an extended 13-song sequence dedicated to "The Glory of the Lord: A Choral Celebration for Christmas." The powerful tones of the experienced singers rang through the cavernous sanctuary, moving easily and beautifully from upbeat standards such as "Joy to the World" to the triumphal exultation of the concluding "Praise to the King."

The Children's Chorale joined their elders on stage as new conductor Dana Ihm invited the smiling audience to join in singing a quartet of favorites highlighted by "Jingle Bells," "Deck the Halls," and, of course, children's favorite "Rudolph the Red-Nosed Reindeer."

The Children's Apprentice Choir under the direction of Betsy Barto initiated their four-song set with a lovely and haunting ode to the first Christmas family called "O Who's That Yonder?" Children's Concert Choir Director Jennifer Shadle-Peters then led her charges through an internationally flavored trio of songs that included the traditional "African Noel" and a Spanish carol entitled "Riu, riu, chiu," which was introduced by the accidental early arrival of half of the tuxedo-clad men of the adult choir. No one missed a beat, though, and the men added some formal decoration to the stage as the children sang "One Candle," their best song, which began with a beautiful solo by a young girl who was then joined by a young man for a sweetly harmonic duet before being joined by the rest of the choir. The concert ended with another audience-participation set dedicated to the ubiquitous jolly old elf - who perhaps unsuprisingly appeared to share goodies from his bag.

With the Dove of Peace hovering above the proceedings on soaring wings and a stage fronted by red-leaved poinsettias and flanked by brightly lit Christmas trees (conical conifers for the secular folks), "Peace on Earth" entertained and uplifted. It inspired joy in the hearts of all the performers' parents, both those still here on the blue orb and those now abiding up above with the star of the season.

"Good tidings for Christmas and a Happy New Year!"

'Marley's' no Scrooge

2008-12-06T12:53:00.000-08:00

SCOTT WHITED
PUEBLO CHIEFTAIN

Ever find yourself thinking, during your annual holiday musings, "I wonder what that Jacob Marley was really like? I know Ebenezer Scrooge, I know his story from past to present to future, but not Marley. Who was he, really?"

If you have, then you're in luck. The Impossible Players opened a two-week run of "Jacob Marley's Christmas Carol" by Tom Mula at their Main Street Playhouse last night, and it answered those pesky questions for a modest-size audience in jaunty fashion.

Mula's variation on Charles Dickens' seasonal classic used a four-person cast to combine narrated story-telling and dramatized mini-scenes in an imaginative conglomeration that might have worked better on radio than on stage.

The first act set up the central conceit: Telling Scrooge's familiar tale, but from the perspective of his deceased business partner, but the crowd was left asking how this story was going to be new and different. Not to worry. The second act provided a creative twist or two on the original, but the uplifting spirit that has charmed the English-speaking world for over 150 years was left satisfyingly intact. Still, the overall effect of the show's presentational style was not as satisfying. Interesting, yes, even occasionally intriguing, but this viewer was left with the feeling of having watched an elaborate two-hour story time at the library, only with more performers, better sound effects, and a very nice set. The script broke a cardinal rule of playwriting: Too much telling and not enough showing.

The young cast was admirably committed to their portrayals. T.J. Cordova played the title character with vim, vigor, verve, and a penchant for uninhibited shouting and howling. He threw himself into the part, and more than once onto the floor. One might expect no less of a man who finds himself in hell, but the volume on the shouting might not have needed to be turned all the way up to "11" so often.

Schmidt was pleasant and perky as the last of the 132 angels left on the head of Marley's pin. She was an attractive accomplice in his efforts to "transfer" out of hell. William Hanks brought an impressive range of interpretation to his Scrooge. He was a bully, a miser, a conniver, and a born-again apostle of Christmas, each distinct from the others, each believable in and of itself. Adelita Fierro acquitted herself well as the utility thespian, bringing a variety of accents - sometimes more than one within the same character - to her smorgasbord of roles. The most heart-warming was her stuttering, bespectacled Bob Cratchit.

Unfortunately, theater is still a medium where showing trumps telling almost every time.

"Jacob Marley's Christmas Carol" continues at 8 p.m. tonight and Wednesday through Dec. 13. Call 542-6969 for tickets.

'Nutcracker' reaches new heights

2008-12-05T12:55:00.000-08:00

JOANNE DODDS
THE PUEBLO CHIEFTAIN

It feels good when you see hard work rewarded. Thursday night, the Sangre de Cristo Ballet Theatre Company's "Nutcracker" performance was outstanding. Every dancer was better than they were last year.

Much of the credit belongs to Artistic Director Karen P. Schaffenburg who came to Pueblo in 2000. Each year the "Nutcracker" performance, under her guidance, has been a little better. This year, the company made a giant step forward professionally.

There are several reasons for this artistic leap. This year many of the dancers who were Stars or Angels when Karen arrived were the featured dancers in this production. With more skilled performers, Karen was able to increase the complexity of the dances.

The addition of two professional male dancers was another significant improvement. In the past, some of the Cavaliers were a little long-in-the-tooth. Last night, the Cavalier (Tye Love) and the Sugar Plum Fairy (Sydney Gettel) were not just on stage together; the nicely paired couple danced beautifully together.

The cute moments were reduced and more connecting links were added that tied the performance into a single story instead of a series of independent dances. All of the larger parts were enhanced. The Rat Queen (Juliana Millbern) emerged as an engaging character. The Snow Queen (Megan Duling) and the Snow King (Jonathan Guise) along with the Snowflakes were the best ever. And, the Waltz of the Flowers with the Dew Drop Fairy (Emily Aldag), Roses (Mimi Diawara and Cissy McDaniel) and Butterflies (Isabel Diawara and Rebecca Van Dover) was especially graceful.

Highlights of the Kingdom of Sweets were Spanish Chocolate (Rebecca Higgs with Anneliese Carlson and Ellen Skay), Arabian Coffee (Paige Cipperly with Alexandria Clough and Remi Kessler) and the Silver Flutes (Paige Cipperly, Mimi Diawara and Megan Duling) along with French Horn (Jonathan Guise) dances.

Lastly and certainly not least, was the charming Clara Stalhbaun (Grace Marie Lobato) who started her Nutcracker career as a Star just as Sydney Gettel did. Both ballerinas have worked hard, polished their skills and were stars Thursday night.

The remaining four performances of "Nutcracker" are sold out.

The Children’s Chorale of Pueblo

2008-11-25T12:37:00.000-08:00

Ed & PATTI GALLAGHER

The Children’s Chorale of Pueblo presented their annual Fall Concert on Sunday afternoon, November 23, in Hoag Hall on the campus of CSU-Pueblo. True to the title, “The Whole World Sings”, there were songs from all around the world including Germany, China, Polynesia, the Barbary Coast, Japan, Africa, Spain and America with much of the music sung in the native languages.

The Chorale consists of two choirs, the senior Concert Choir and the younger Apprentice Choir. Both groups were neatly dressed in black slacks and white shirts with red bow ties. The senior group wore bright red cummerbunds. And the stage was adorned with very appropriate autumn décor.

And, what a joyous afternoon it was. The joint choirs opened the concert with a spirited version of “Frere Jacques”, (Brother John, The Whole World Round), sung in several languages. The audience that was filled with many parents, grandparents and siblings bolstered the young performers with loud cheers and bravos throughout the entire event. Pueblo is extremely fortunate to have the Children’s Chorale. Not only does it add another dimension to the Arts Culture of Pueblo, but what it does for the future of those children who participate cannot be measured. To some extent it was demonstrated in the last number, “Shalom”, when six former members joined in singing with the choirs. All have benefitted from their “choir days” including one who is now a music teacher. And, there are many more who gained a love of music and contribute to our society.

The Apprentice Choir sang four songs with much gusto and playful stage movement. They showed their most enjoyment with the singing and swaying during the “Tiki Chant”, a Polynesian number.

The Concert Choir did five numbers displaying wonderful ensemble work, especially their rendering of “Jubilate Deo”. Ryan Finney, a percussionist, added much color to the “African Noel”. Anne Bennett proved to have a very special talent as a soloist in “Rui, Rui, Chiu” and in the touching, “One Candle”.

The Children’s Chorale is blessed to have two expert Directors in Jennifer Shadle-Peters and Betsy Barto. The discipline, concentration and performances of the choir members attested to the professionalism of these directors who consistently focused the attention of the audience onto their young choirs rather than to themselves. In addition to Ms Barto and Ms. Shadle-Peters, both choirs were accompanied by Lori Judkins (Concert Choir) and Lynn Gimlin (Apprentice Choir), both being extremely sensitive to balancing their sound with the choirs. And, finally, kudos to the executive director, Christina Anderson.

Stellar Performances by Pueblo’s Youth

2008-11-19T18:05:00.000-08:00

SARAH BRUESTLE

Pueblo City Schools presented a fine performance the evening of November 18 at South High School as the All-City High School Honor Band and Honor Choir showcased Pueblo’s high school musical talent. Guest conductor of the band, Mr. Alan Mills, Director of Bands and Assistant Professor of Music at Colorado State University-Pueblo, filled in with short notice as the scheduled guest conductor was under the weather. Guest conductor of the choir was Dr. Jennifer Shadle-Peters, Associate Professor of Music at Colorado State University-Pueblo. The audience filled the auditorium as performers’ family members and friends eagerly cheered them on throughout the evening’s performance.

The stage was filled with over 50 instrumentalists; little wiggle room was left for additional chairs or stands. The band played four selections with clarity, unity, and harmony. When I closed my eyes I felt as though I was listening to a theatrical sound track; the movie Fantasia continually popped into my mind. A memorable moment during a Swearingen selection was the horn sound coming from the sides of the auditorium. When I looked behind me I saw two students, one on each side of the auditorium adding to what sounded like a Taps solo, evoking emotion from the audience. This solo accompanied a variety of strong instrumental solos throughout the performance.

Already being amazed by the talented instrumental students, the choir followed with a stellar performance. The vocalists from multiple schools showcased their voices which blended effortlessly. The choir was able quickly sooth crying babies in the audience as they elegantly sang their way through a Schutz/Jennings selection; a calmness from their voices equivalent to the calm under an ocean current. During six selections these developing vocalist were on pitch, part and beat as they sang in multiple languages. With the assistance of their school instructors on percussion, the choir ended the night with an upbeat Spanish selection.

Bonnie Norton, Fine Arts Specialist at the Pueblo City Schools described these young artist well when she stated; “this is the best of the best of the All City Band.” Mr. Alan Mills announced with pride, “I want each and every one of them (band members) in my band at the university”. Dr. Peters admirably announced her enjoyment of working with the choir, and although she does not know the names of all of the youth after two days she feels like friends with all of them. With multiple standing ovations, the students were coached by their conductors to stand and remain standing to accept praise for a job well done.

The Song of Pueblo

2008-11-18T21:31:00.000-08:00

By PIERRE KENYON
THE PUEBLO CHIEFTAIN

The premiere performance of the long-awaited "Song of Pueblo," a secular oratorio by Daniel Valdez, brought an epic story to life on the Sangre de Cristo Arts and Conference Center stage Thursday evening.

An oratorio may be described as a musical setting for voices and orchestra of a text based on the Scriptures or an epic theme. In this case, the epic theme is a history of the city of Pueblo up until the great flood of 1921.

Quite unexpectedly, two men in beautiful American Indian costumes, members of the Apache and Sioux tribes, I believe, offered up a touching Indian prayer honoring those who were killed or injured in the Branch Inn explosion on Thursday afternoon. It was very effective and tastefully done.

The show went on. My overall impression was that the "Song of Pueblo" was quite an extravaganza. It covered a lot of territory, including many events and a great number of people. There was a chorus of 30 children and adults; an orchestra of about 10 instrumentalists and a screen above the stage which projected historical still photos and motion pictures. All of this was composed and directed by Daniel Valdez.

The show consisted of 17 numbers, each carving out a bit of history which was especially memorable. These events and the music were narrated throughout by Sendi Peregrino.

Highlights were numbers about American Indians, Spanish and American settlers, the Mexican cultural influences, a romantic ballad sung by Brent Ritter, a fandango dance, Indian flute music, a catchy tune about Cripple Creek gold, Pikes Peak or bust, Gen. William Jackson Palmer, the railroads, the cattle drives and cowboy music prompting the audience to clap along, the waves of immigrants with corresponding folk tunes, and the birth of The Pueblo Star-Journal and The Pueblo Chieftain, and much more.

The overflowing audience responded with enthusiastic approval with an immediate standing ovation.

There were many people involved in the development and production of this show, all of whom should be highly commended. The show was underwritten by the Hasan Family Foundation and a number of organizations and individuals in Pueblo were involved.

Incidentally, the Saturday performance is sold out, as well. And that doesn't surprise me one bit.

Czech it Out!

2008-11-03T09:57:00.000-08:00

By PIERRE KENYON
THE PUEBLO CHIEFTAIN

The Veronika Quartet provided a good audience at the Sangre de Cristo Arts and Conference Center stage with a Sunday afternoon of extraordinarily fine music.

Last things first here. I departed after the concert was over with a feeling of satisfaction and joy. The encore played by the VQ certainly put a smile on quite a few faces. It was a variation of Gershwin's "Nice Work If You Can Get It," played with zest and good humor in marked contrast to what we had heard in the rest of the program.

Well, I'm glad the VQ has the work they have, to follow through with the idea behind that jazzy and charming rendition that was performed by Veronica Afanassieva, violin; Karine Garibova, violin; Ekaterina Dobrotvorskaia, viola; and Mary Artmann, cello.

The program featured a fine guest artist, clarinetist Daniel Silver, who joined the VQ in a vibrant performance of Mozart's Stadler Quintet, K.581, composed just two years before the composer died.

As an aside, this piece was used in the final episode of the television series "M*A*S*H." How's that for a fine bit of musical trivia. Alfred Einstein called this quintet chamber music of the finest kind. And after hearing the performance by Silver and the VQ, I would agree.

Incidently, during the concert, I sat next to a clarinetist who plays with the Pueblo Symphony Orchestra. He knew the guest artist and said that he was a fine player. I certainly share his point of view after hearing him play.

There were melodies in this quintet which closely resembled music in Mozart's Clarinet Concerto which would explain why the piece sounded so familiar.

I hope that Silver returns soon for another engagement.

Two other major works were included in the program. One by Franz Schubert, the Quartett Zats in C Minor. And the other by Bedrich Smetana, the String Quartet in E Minor, "From My Life."

The Schubert piece is an unfinished work in one movement. The Schubert sound is unmistakable. It is so melodic and lyrical with a certain sweetness of harmony and tone. In playing many variations on the initial theme, the VQ was in fine form.

The four movements of the Smetana piece depict a certain part of the composer's life, as its name implies. The first movement with the viola taking the lead was supposed to portray his love of art. The second movement, which was quite obviously a bit raucous and carefree, was playful, and at times even funny, displaying perhaps a more frivolous time in the composer's life.

The third movement was introduced by solo cello. The mood was thoughtful and sentimental, showing an intensity of feelings which might be considered romantic. This was to portray the composer's love for the woman who became his wife. The VQ played vigorously in unison signifying a "oneness" perhaps? Then there was a sweet melodic tune denoting harmony with the second violin in the lead echoed by the viola, then cello. I felt a certain peace and serenity.

The fourth movement was joyous and included folk dance and folk themes reflecting Smetana's interest the national music of Bohemia.

This was wonderful piece of music, beautifully played by the VQ. It might be interesting to note that the composer wrote this fine music when he, like Beethoven, was totally deaf. And further, he suffered from tinnitus at the time having to listen to a piercing high E which, strangely, I thought, was played by the first violin in this fourth and final movement.

Altogether, it was an exciting and highly entertaining afternoon of first-class chamber music. We are very fortunate to have this fine quality of music in Pueblo.

The Beauty of the Earth

2008-11-02T09:55:00.000-08:00

By JOANNE DODDS
THE PUEBLO CHIEFTAIN

One word sums up the Pueblo Choral Society's opening concert of the 2008-09 season - bravo!

The evening was dedicated to the works of the often-sung but not well-known American composer Randall Thompson (1899-1984).

Dana Ihm conducted the first half of the concert. "The Last Words of David" was the first selection followed with "Frostiana."

Thompson and Robert Frost were acquainted. In 1958, the town of Amherst, Mass., commissioned the two men to compose music using the poems of Frost for their 200th anniversary. Naturally, some of Frost's most loved poems such as "The Road Not Taken" and "Stopping by Woods on a Snowy Evening" were selected.

Frost was in the audience on opening night. When the performance was over, he jumped to his feet and shouted, "Sing that again!" I agree! It was delightful with the entire chorale singing the opening and closing portions and only the men singing portions of the composition and the women singing other portions. If this is representative of what happens when poets and composers collaborate, colleges should make it a manditory requirement for graduation.

"Alleluia" was next. Composed in 1940, the piece uses only the single word in the title throughout. "Alleluia" was inspired by Thompson's distress over the fall of France to Nazi Germany. Sung a cappella, one heard sadness, confusion, a cry for help, pleas for salvation and an anguished cry of why. That is a lot of message for a short composition with only one word. It is not surprising that it is Thompson's most often performed composition.

Mark Hudson conducted the second half of the concert. Unfortunately, this will be his last season with the Choral Society. Next year, the very able Ihm will be the conductor.

During his eight years with the society, Hudson has encouraged the group to collaborate with other choral groups and to perform some very exciting concerts.

Don't worry, he is not leaving town. Hudson simply needs the time for other professional pursuits.

Thompson's inspiration for "The Peaceable Kingdom" was a painting by American primitive painter Edward Hicks, which depicts Isaiah 11:6-9: "And the wolf will dwell with the lamb . . ."

Hudson did a beautiful job of introducing the piece. The composition, written when Thompson was a young man, followed the traditional format for a choral composition.

The entire concert was a very satisfying listening experience. The audience agreed, applauding for encore bows from both conductors.

One last comment of praise. The chorale included in the handsome program guidelines for audience behavior, including the request that applause be held between movements for a longer work.

I would like the symphony and choral to print on the program when it is appropriate for applause. People want to know how to express their appreciation and I think they would be very receptive to a little help.

The next Pueblo Choral Society performance will be the annual free Christmas concert at 3 p.m. Dec. 6, at Praise Assembly of God.

The Whole World Sings...A Concert from the Pacific Rim

2008-10-22T09:53:00.000-07:00

By PIERRE KENYON
THE PUEBLO CHIEFTAIN

What a spectacle! What a gaggle of howling kids!

A joyful bunch of singers from two local elementary schools were in the audience before they sang along with members of the Pueblo Children's Chorale in "The Whole World Sings: A Concert from the Pacific Rim" Tuesday night at Hoag Hall on the campus of Colorado State University-Pueblo. It was a big event; 200 performing singers in all with a full-capacity audience of more than 600.

Since there was a dearth of program notes, I presumed that most of the songs performed were Asian in origin. All are to be commended for taking on such a challenging program.

There was also a tie-in with the Pueblo Big Read program, with readers all over the county enjoying "The Joy Luck Club," by Amy Tan.

Harriet Warren, directing the South Mesa Elementary School choir, started the program off with a Chinese (theme) song, "Gung Hay Fat Choy," accompanied by 12 students wielding Orff instruments. This was a charming piece. Michele McCown then directed 95 students in the choir from Cedar Ridge Elementary School in a performance of "Moon at the Ruined Castle," with a Japanese theme. This was another charming piece sung with considerable precision.

Their second piece came from New Zealand, sung in the Maori language and accompanied by piano and two flutes. The group performed well, mostly in unison, though the harmonies were impressive as were the dynamics.

Betsy Barto then directed the Apprentice Choir, the younger singers of the Pueblo Children's Chorale, in a Chinese folk song, "Crescent Moon," followed by "Tiki Chant" with interesting gesticulations. Rachel Young, one of the singers, performed an impromptu dance. I sat next to her proud mother.

Jennifer Shadle-Peters then directed the Concert Choir in a Japanese children's song which was short and sweet and well executed, followed then by two more Japanese songs and a Korean folk song. I particularly enjoyed the lively Japanese "Village Festival" song. Their final piece was the Korean folk song, "Ahrirang," a challenging three-chorus composition which was performed well.

The grand finale with all 200 singers on stage singing a Chinese and a Japanese folk song was quite a spectacle. Directing this wonderful group was a logistical feat as well as a musical one. Directors Shadle-Peters and Barto and the kids were really impressive.

That's It Folks!

2008-10-11T09:52:00.000-07:00

By SCOTT WHITED
THE PUEBLO CHIEFTAIN

What would you do if the end was nigh? If the end was more than nigh. If the end was here. Right. Now!

The menagerie of characters in The Impossible Players' production of Mark O'Donnell's "That's It, Folks!" approaches the end from a variety of idiosyncratic angles. Billed as "a comedy of apocalyptic proportions," the show opened last night to a half-full house that was treated to an energetic cast of oddballs bouncing about in the service of a grab-bag script full of disjointed end-of-days riffs and rim-shots. There were plenty of opportunities to smile and laugh, but one was never quite certain why.

Ever-smiling Eden (Geneva Mattoon) lives with Satan acolyte Otis (Geoffrey Simmons) in a comfortable apartment, where she aspires to communicate with aliens and he speaks in rhymed verse in the hopes of being chosen "left-hand man" of the Prince of Darkness. Their roommate, Penny (Jamie Fiedeldey), longs for a man to settle down with, and finds two quirky prospects in Zed Snowman (Tom Massmann) and Darryl (Eli Cranson). All this goes on while the newspaper and radio announce the immediately pending "end."

The play takes the form of a standard character comedy, but this ain't your father's sitcom. It features locusts, a ghost who doesn't know he's dead (Bill Boyett), meteors (nicely depicted by flashing light effects), a gaggle of Satanists clad in purple and black, and a female Voice of God (Edna Simmons) who assigns people to heaven or hell alphabetically (A-M = heaven; N-Z = hell: "Ladies use your maiden names"). Things move swiftly forward, aided by the flowing blocking of director Marvin Hays, but the story is such a hodgepodge of anarchic actions that it is hard to be invested in it as anything more than a bemused voyeur.

The troupe brings a compelling aura to the stage. The performances are weird, whacky, enthusiastic, and sincere. Massmann leads the way with his portrayal of Zed, whose only goal is to be featured on the last magazine cover ever published. His eccentric accent enlivens a character who is part apocalyptic Jon Lovitz-liar, part post-modern Ed Norton. Mattoon is the ingenuest of ingenues. Her Klieg-light smile illuminates a trusting soul who loves her man unconditionally: "He's so committed - if only it weren't to Satan." Fiedeldey bemoans her loveless fate, sobbing disconsolately despite being able to flaunt an aquamarine-and-print mini-dress and knee-high go-go boots. She is nothing if not over the top, even while being dragged across the floor by an uncooperative love-prospect.

Simmons is an inspired Satanist. His French-cavalier twirled mustache and pointy chin-beard are perfectly complemented by his vacuum-sealed sleeping pod and the twisted dagger with which he repeatedly tries to sacrifice the nearest available virgin - his beloved Eden.

Zed wraps up the shenanigans with a bit of poignancy. When told that it's end-time, "ready or not," he cries out plaintively: "Not!" Ah, well. Sacred music pours forth from the speakers despite his plea. But not to worry; it is quickly followed by a ukulele version of "Somewhere Over the Rainbow."

"That's It, Folks!" continues at 8 p.m. tonight, Wednesday, Thursday, Friday, and Oct. 18. Call 542-6969 for reservations.

Personals

2008-10-10T09:51:00.000-07:00

By PIERRE KENYON
THE PUEBLO CHIEFTAIN

Thursday night was opening night for “Personals: The Musical” presented by the Steel City Theatre Company at Hoag Hall on the campus of Colorado State University-Pueblo.

By “personals,” it means those ads once placed in newspapers and magazines seeking, well, some sort of relationship. They read something like this: “Single Mongolian female seeks single Mongolian male with similar tastes; must know how to take care of herd of yaks and enjoy camping in the Gobi Desert. Reply to P.O. Box 1985, etc.,” or something like that.

This play is really a big spoof of this kind of activity. And, yes, it’s wacky and over-the-top. The principal players are true to the material they represent.

The verdict: Pretty nutty stuff but, above all, it’s really quite entertaining.

Yes, I managed a few chuckles and an occasional guffaw during the two-act performance, as befits an unbiased reviewer while trying to maintain his decorum. I’ve had the privilege of enjoying most of the members of the cast in other stage productions locally, so it was a pleasure to see some of these veteran actors strutting across the boards, or tripping, as the case may be.

Kennette Oldham gave forth a memorable shriek but also sang a touching song about wanting to marry someone again. James Amos was effective in a number of character roles, particularly as a middle-aged mother concerned about her children’s love life, and as a lonely bachelor or one of a male quartet at a bar. All of it was a lot of fun.

Jennifer Ritter plays a rough type who “hates intellectuals and men who like cars and clothes.” Then turns around and plays an intellectual type with numerous emotional hang-ups.

Ensemble numbers were impressive, “I’d Rather Hold Out; I’d Rather Dance Alone” is a standout as is “I’m Movin’ in with Linda,” the latter featuring Amos, Oldham and Ritter along with Bethany Nafziger.

Jason Laughrey, as director and actor, does well in each task.

There are a whole series of fast-moving vignettes helped along by good stage direction, a minimal but appropriate set and a nimble stage crew.

The four musicians played well and added a lot to the production but I would suggest that the volume level be toned down a bit since it occasionally drowned out individual singers.

This show is not for the kids, best leave them home with a babysitter, as there is material which is adult in nature, as the saying goes.

Performances continue at 7:30 p.m. tonight and Oct. 16-18, all at CSU-Pueblo’s Hoag Hall.

Patti Gallagher’s “Musical Notes”

2008-08-29T09:49:00.000-07:00

There has been no review of this event submitted, but please feel free to comment on the performance.