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Classical Music/Dance
Friday, June 20, 2008

Classical Preview

PianoArts of Wisconsin has come a long way in the eight years since its first competition. With the 2008 National Biennial Piano Competition and Music Festival running this week June 20-24 in the Milwaukee area, PianoArts has attracted some serious young talent. The 10 finalists hail from six states, including homelands of China, Singapore and Japan to compete for over $18,000 in prize money including scholarships. But as stiff as the competition is to make the Top Ten, so are the requirements, which this year include raising the contestants’ ages to 15-19 to allow for college students to compete. In addition, the Competition’s three finalists will perform . . .
Concert Reviews
Tuesday, June 17, 2008

Wednesday, June 11, 2008

Just in case you were worried, the spirit of punk is alive and thrashing, thanks in part to the eclectic collective Gogol Bordello. The group stormed the stage at the Turner Hall Ballroom last Wednesday, while a solid turnout of punkers, college kids and boomers (reliving their mosh-pit days) showed that punk marches on, even when mixed with a multi-ethnic sturm und drang.
Theater
Wednesday, May 28, 2008

Theater Review

For young Percy Talbott and the folks of Gilead, Wisconsin life is not a physical journey out of the small town. In their case, it’s a new way of looking at life within as they rediscover all that’s good about their close knit community. It takes an outsider like Percy to show the insiders where the dormant joys lie buried, waiting to be rediscovered. And life in Gilead centers around The Spitfire Grill, the homey diner crossroads where everyone knows, or tries to know, one another’s business. Based on the 1996 film of the same name, the stage musical version tells the story of Talbott . . .
Classical Music/Dance
Tuesday, May 20, 2008

Dance Review

The Milwaukee Ballet brought its season to an exuberant end with a finale that showcased the depth and breadth of the talent in this company, ranging from the classical to the modern, surefooted every step of the way. For sheer visual fun, Antony Tudor's take on the Moulin Rouge, "Offenbach in the Underworld" literally provided a glimpse of the "under" world of the can-can dancers (along with their frilly undergarments) as the different social classes meet up in an 1870s caf, rife with jealousy, flirtations and ensuing brawls. Drawing upon the music of Jacques Offenbach, Tudor . . .
Theater
Wednesday, May 7, 2008

Theater Reviews

It’s that “perfect period” in the mid-20th Century circa 1959: Eisenhower was president, Ed Sullivan was introducing a nice young man by the name of Elvis Presley to millions of viewers glued to the new medium of television, and kids, for the most part, still listened to their superiors—parents included (the ’60s are just around the corner). Perfect timing for 12-year-old Rudy Pazinski to question his catechism teachings—and life in general—at the hands, literally, of the militaristic Sister Clarissa.
Classical Music/Dance
Wednesday, May 7, 2008

Classical Preview

They are called Le Mystere des Voix Bulgares, or translated, “The Mystery of the Bulgarian Voices.” As enigmatic as the name sounds, they are best known for the incredible sounds they produce, particularly when singing the multi-choral folk songs of their native Bulgaria. Composed of 26 performers, this all-female a capella ensemble is touring for the first time in 18 years, making a rare appearance at Milwaukee’s Pabst Theater, Friday, May 16. And the music they make is exceptional. Originally known as the Bulgarian State Television Female Vocal Choir, Le Mystere was first “discovered” . . .
A&E Feature
Wednesday, April 30, 2008

Lake Wobegon comes to Milwaukee

Sue Scott remembers it well. As a veteran performer on “A Prairie Home Companion,” she was preparing for the start of another live radio broadcast (Saturdays from 5 to 7 p.m. and Sundays noon to 2 p.m. on WUWM 89.7 FM). But this time something was wrong—specifically, the script. Everybody on stage, including host Garrison Keillor, had the wrong script. “Garrison is live on the air and he’s literally hugging [performer] Tim Russell, writing lines in the margin of Tim’s script as Tim is speaking,” she recalls. “Garrison’s got his black Sharpie out—he must have stock in those Sharpies since we have cases backstage—and there’s no time to bring out a new script.
Theater
Wednesday, Feb. 27, 2008

Theater Reviews

Ida, Lucille and Doris are three women who have something in common: they’re widows who’ve lost their respective husbands within a few years of one another. As members of “The Cemetery Club” they visit their husbands’ graves once a month. There’s clean-up to do around the headstones, news to tell of weddings and grandchildren and memories rekindled along with the pain and grief that resurfaces in the remembering. Sunset Playhouse has created a warm greeting card of a production out of Ivan Menchells’ play The Cemetery Club that opened last week. And as good friends as they are, Menchell has created three very different women, setting the stage for conflict, comedic and otherwise.
Classical Music/Dance
Wednesday, Feb. 27, 2008

Dance Review

In the midst of this winter of our discontent the Milwaukee Ballet’s A Midsummer Night’s Dream conjures up a magical world filled with fairies and mortals and the expressive freedom of summer—at least onstage. Based on Bruce Wells’ choreography with Felix Mendelssohn’s score, this Midsummer condenses Shakespeare’s play to one hour, 45 minutes (with intermission) while still keeping intact the storyline of three couples bewitched by magic potions and mistaken identities, all under the mischievous doings of the spritely Puck, whose devilish horns serve him well. The dreamlike atmosphere is all the more pronounced as Wells has set the entire dance in the forest of Oberon and Titania, the fairy king and queen.
Today in Milwaukee
Wednesday, Feb. 27, 2008

Dance Review

In the midst of this winter of our discontent the Milwaukee Ballet’s A Midsummer Night’s Dream conjures up a magical world filled with fairies and mortals and the expressive freedom of summer—at least onstage. Based on Bruce Wells’ choreography with Felix Mendelssohn’s score, this Midsummer condenses Shakespeare’s play to one hour, 45 minutes (with intermission) while still keeping intact the storyline of three couples bewitched by magic potions and mistaken identities, all under the mischievous doings of the spritely Puck, whose devilish horns serve him well. The dreamlike atmosphere is all the more pronounced as Wells has set the entire dance in the forest of Oberon and Titania, the fairy king and queen.

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