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.
Wednesday, March 11, 2009
Tuesday, February 24, 2009
Imps stage must-see 'Murders'
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.
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.
Friday, February 20, 2009
Musical Comedy Of Murders Review
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.
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.
Thursday, December 18, 2008
Scrooge, the Carol with an Attitude!
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.
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.
Sunday, December 14, 2008
Pueblo’s 31st Annual La Posada
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!
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!
Saturday, December 13, 2008
'Christmas Story' is fun, nostalgic and a must see
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.
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.
Tuesday, December 9, 2008
Sarah Shaw’s “The Magic of Snow”
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.
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.
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