The Reluctant Writer: Something Else to do When I Should Be Writing

March 17, 2010

Blogging, ballet & beer — with a perturbed poetry mention

I remember when I used to blog.

I know, it’s been a while.  Coming up on a month, actually.  So many cool things to write about and yet I don’t seem to be doing my job.  When we left off, Bonnie and I were just returning from New York City where it was cold and all Alan Shore-y.  Oh yeah, and a nice man in a bar bought me a drink while I was talking to the Beer Doc on the phone.  That still feels good.  I went out to the Art Bar last night to check out the final poetry slam competition — scouting for an upcoming undefined poetry reading (and by the way, Chris McCormick was robbed!) — and couldn’t find anyone to go with, so I put on my big girl panties and went alone.  Lo and behold, another dude tried to buy me a drink while I was talking to my friend Gillian on the phone.  He was creepy though — cowboy hat creepy, to be precise — so I gave him the Nora look and moved into another room.  (The Nora look is this “eat shite you pathetic fool or I’ll burn your house down” snarl that is passed genetically through the Boiter side of my family.  My dead grandmother Nora had it, and my also late Dad had it, then me, then Bonnie.  Bonnie has actually perfected it — you’ve probably seen it before from one or both of us.)

  In the interim since my last post, the Beer Doc and I spent Spring Break doing some final research on NC and SC beer.  Actually, I’m working on a story for Sandlapper on SC micros and brewpubs — focusing on COAST beer in North Charleston — a wife/husband team who are brewing organic, environmentally conscious beer that absolutely rocks; RJ Rockers in Spartanburg — home of the Son of a Peach summertime sensation; Thomas Creek in Greenville — home of the Deep Water Double Bock which is sumptuous; the Aiken Brewpub, which is in Aiken; and our own local Hunter Gatherer — the place I keep calling “our” pub and for some reason, people who don’t know it think it belongs to us.  I tend to get a little proprietary, I guess.  People who don’t know the Cellar may think I own it, too. 

In any case, much has been written about beer lately and less about my beloved arts.  (No, I don’t own them — it’s a figure of speech.)  However, I have done a couple of reviews for the Free Times of local Columbia dance companies over the past few weeks.  Here’s the piece on Columbia Classical Ballet’s Aladdin, in case you missed it.

And I’ll try to be a better blogger in the future.

 

Issue #23.10 :: 03/10/2010 – 03/16/2010

Aladdin Gives us More — and Less — of What We Expect from Columbia Classical Ballet

BY CYNTHIA BOITER

   

Columbia Classical Ballet’s Aladdin presented itself last Friday at the Koger Center as something big — something spectacular. In many ways, the company met its objective. Resplendent costuming in shimmering warm shades; a multiplicity of dancers at various stages of training; informed choreography courtesy of the rare former dancer who actually knows how to choreograph; delicate women; threatening thieves; and a plethora of adorable children littering the stage.  There is no arguing — it was a big show.

Based ever-so-loosely on a Middle-Eastern folk tale taken from One Thousand and One Arabian Nights (though the characters of Jasmine and a blue Genie do not appear in the story’s history until Walt Disney Pictures adapted the tale in 1992), Aladdin is a classic tale of boy meets girl, boy loses girl, boy wins girl back and defeats the evil sorcerer with the help of a genie in a lamp. Choreographed by Classical Ballet resident choreographer Simone Cuttino — a John Cranko Ballet alum — the ballet Aladdin offers quite a lot of dancing.

In the first act, some might argue, it offers too much.

It’s not that exposition in a narrative ballet is a bad thing, but Act I could have used more of the fine-tuning — the winnowing out of superfluous movement and detail — that Act II demonstrated.

In a word, the first act was long.

That said, one of the most aesthetically pleasing parts of the ballet came in Scene Two when Aladdin, danced by Aoi Anraku (a Gold Prize winner in the All Japan Ballet Competition in Nagoya), encounters Lauren Frere’s Goddess of Diamonds and her accompanying attendants (danced by Anna Porter, Renata Franco, Kaori Yanagida, Akari Manabe and Dee Dee Rosner).  Though Anraku rarely demonstrated much commitment to his character, stepping in and out of choreography as if it were a series of disconnected exercises, the women accomplished their parts exquisitely.

It can also be argued that the ballet itself didn’t fully take off until the very end of Act I when the character of Jafar, danced by the Ukrainian Oleksandr Vykhrest — who heretofore had lacked the menacing energy one might expect from a villain — came alive with malice as he danced the lights down on the act. Once the ballet found itself, the remainder of the program was a delight.

The highlight of the night was the desert scene in Act II, when the company rallied to produce a mesmerizing scene of conspiracy and deception. Jasmine, danced by Kaleena Burks (former student of Magda Aunon and Magaly Suarez), demonstrated particularly stunning pointe work and arabesques while committing to her character in a manner she had previously yet to reveal. Vykhrest’s Jafar exhibited not just a capacity for peril, but also for affection, as he pined hopelessly for the princess. Kazuki Ichihashi, in the role of the Genie, might have relied excessively on his turns to wow the audience, but he executed them spectacularly. The lighting, courtesy of technical director and lighting designer Aaron Pelzek, painted the desert scene with subtle, yet beautiful changing hues suggesting the passage of time as the scene progressed.

Why did this simple scene with few props and no stage clutter satisfy so?

Because big isn’t always better. Give me the respect for the aesthetic of dance, the purity of exquisite technique, the confidence of simplicity audiences have come to expect from director Radenko Pavlovich’s classically trained and, usually, impeccably coached dancers, any day. My favorite Pavlovich productions are the ones with little production at all — beautiful, proficient dancers on a bare stage with nothing but a capable lighting director to illuminate their prowess.

We got to see a peek of this local treasure Friday night — but only a glimpse and not nearly enough to last until next season begins.             

Let us know what you think: Email editor@free-times.com.

   

 

 

Advertisements

February 17, 2010

Cabaret Comes to Trustus Wednesday night with Marjorie Barnes & Wideman/Davis Dance

If you can tear yourself away from the Olympics on Wednesday night, (did somebody say Tivo?), race on down to TRUSTUS Theatre on Lady Street for a taste of New York City, Columbia Style.  The brain child of former Broadway star – now Columbia arts supporter, Gillian Albrecht, TRUSTUS Theatre presents an innovative series of monthly cabaret events starting Wednesday night with Thaddeus Davis and Tanya Wideman-Davis of Wideman/Davis Dance Company and featuring the huge voice of the beautiful Marjorie Barnes.

Marjorie Barnes may be best known for her work with the musical group The Fifth Dimension (can you suuuuuurry, can you picnic? wo-o-o-ah) — Marjorie replaced Marilyn McCoo in the mid-seventies — but she has also enjoyed a stellar career as a jazz vocalist both on Broadway and throughout Europe.  Among the shows she has starred in are Hair, Dream Girls, Bubbling Brown Sugar, and Pal Joey.

The fund raising event starts at 7:30 and tickets are $30 in advance and $35 at the door, with student rush tickets available at 7 pm at the door. But don’t dally — there were just a few seats left by Tuesday night — and seating is general admission. For tickets call 254-9732.

Watch this space for more info on the upcoming shows.

February 9, 2010

Valentine’s Day = Pressure; What’s Love Fest = Pressure Release

As a woman of a certain age, I’ve suffered through many a Valentine’s Day.

Suffer, you say?  Why, I thought you had married your high school sweetheart — a boy you met on the football field when you were but fifteen years old?  I thought you had never dated another boy since and that you were living happily ever after in a little white house in an enchanted forest? Isn’t all of this true?

Why yes, yes it is. So if someone like me, who is married to the Beer Doctor, who just happens to have exquisite taste in all things romance, jewelry, wine, chocolates, flowers — the whole bit — if someone like me has suffered through Valentine’s Days galore, then please do pity the poor girl or boy who:  doesn’t have a love interest; only has a like interest; isn’t sure where she or he stands on the like/love scale.

The fact of the matter is that, more than anything, Valentine’s Day means pressure — even for those of us long in-love.  If it’s not deciding what to do, because God forbid you act as if it’s just another night, then it is deciding what to do soon enough lest every table in town be booked.  Pressure.  Then there is the question of gifts.  Women are easy — there is tradition behind what women expect from their beloveds on Valentine’s Day — gentlemen may make their choices from any variety of candies, jewels, and floral designs.  For women of the enlightened sect however, (those who recognize that loving and cherishing is a two-way street and that boys like to have love professed to them as much as girls), it is slim pickings.  We can only give so many wallets, money clips, and boxers with hearts all over them.  Women have to get creative.  Personally, I’ve given the Beer Doc so many baskets of craft beers by now that I just can’t go that direction again.  Pressure.

Don’t even get me started on Valentine’s shopping for parents, grandparents, and kids; what to wear over & what to wear under; performance anxiety; and the fact that a major candy holiday comes around in the middle of the biggest diet season of the year.  Pressure.

At least there is something we can do in Columbia that is pretty much pressure-less for those who just have to show up, and a pressure-release once we get there — the What’s Love Fest at 701 Whaley Street — one of the best arts events of the year.

With too many artists to mention — but I will say a few names like Bonnie Goldberg, Anastasia Chernoff, Michael Krajewski, Alejandro Garcia, Caroline Hatchell, and Billy Guess; plus performance art à la Wideman/Davis Dance, Unbound and more; music from Danielle Howle, Unresolved and Les Paramours; food, including an offering by Chef Kelly and a cash bar with Magic Hat brew; plus all kinds of surprises, I’m sure — The What’s Love Fest is the answer to the second most stressful holiday of the year.  Simply suit up in something sexy (ok, a little pressure there), and show up.

Below are the details lifted from the What’s Love Fest Facebook page — I hope I get to see you there.

What’s Love? This is What’s Love!
Over 40 visual and performance artists showing You the Love!

SAT. February 13th @ 701 Whaley
The main event:
“What’s Love Fest 2010”
7pm-midnight

Sun. Feb. 14th CLOSING
2pm-5pm

Tickets are $15 advance $20 at the door
Advance tickets:
Sid & Nancy – 5 Points
S&S Art Supplies – Rosewood Dr
Frame of Mind – Main St.
WEB – http://www.palmettonluna.org paypal

It’s Valentines weekend and whether you are single or have a love to bring you won’t want to miss this night of tantalizing art and entertainment!
Sponsored by:
Free Times
Baileys
Magic Hat
Sid & Nancy
Comunicar
Smoke
L.A.Kornegay, Media Productions

SAT. FEB 13th 7-midnight

Music by:
Les Paramours featuring:
Don Russo: Vocals/Guitar
Nick Brewer: Piano
Reggie Sullivan: Bass
Tony Lee: Drums
PLUS
Danielle Howle
Unresolved

Performances by:
Unbound Dance Company
Wideman/Davis
Sherry Warren & Kirrill Simin
Penthouse Playhouse

Also enjoy DR SKETCHY! The most rambunctious sketching session you’ll experience.

ART ART ART ART ART
With sexy, humorous, erotic and romantic art – starting with return artists or “The Love Hangovers”
* denotes part of juried show
Heidi Darr-Hope
Anastasia Chernoff
Melissa Ligon
Britta Cruz
Jeff Smith
Alejandro Garcia
Molly Harrell *
Michael Krejewski *
Melinda Register *
Bonnie Goldberg
Leslie Pierce *
Diana Farfan
Lee Ann Kornegay
Travis Teate
Billy Guess *

“Puppy Loves”
Betsy Newman *
Wade Sellers *
Michael Dixon *
Half & Half – Nick & Sarah *
Ted Sbardella *
Melissa Buckner *
Lindsey Wolf *
Izms of Art – Cedric & Mustafa *
Shannon Purvis *
Roe Young *
Caroline Hatchell *
James Shealy *
Lucy Bailey *
Dawn Hunter *
Sarah Kobos *

Kelly Courtney of Sugarhill will have something yummy and chocolate!

You can also shop for the perfect Valentine’s gift with:
Sid & Nancy
Bohumila Augustinova
Tom Chinn – Love Taps
S&S Art Supplies
Frame of Mind
Danielle Howle – Jewelry

Looking for the perfect Valentines Experience?
How bout the DELUXE LOVE package?
Details coming soon!

What’s Love Fest 2010
Jurors

1. Todd Herman, Chief Curator of the Columbia Museum of Art.
2. Karen Watson, Director of the Sumter Gallery of Art.
3. J.J. Ohlinger, Director of CAFfeine, Contemporary Art Forum in Greenville, SC.
4. Alejandro Garcia-Lemos, What’s Love Jury Coordinator.

This year’s event supports Palmetto & LUNA, a non-profit organization promoting Latino arts and culture in South Carolina. Latino theme not required.

FREE TIMES, Sid & Nancy, BAILEYS, Magic Hat and COMUNICAR are sponsors of the event.

For more information
lakorn@bellsouth.net

February 4, 2010

Susan Lenz & Blues Chapel, women’s work, working women, women who WORK & Eboniramm

I’ve written about my friend, local fiber artist Susan Lenz, before — that’s because in many ways she is one of my she-roes.  The work that Susan does resonates with me on so many different levels — much of it going back to the core of who I am.  Many of you lovely readers may know that, in addition to writing about beer and arts and travel, I am also an adjunct lecturer on women’s and gender studies at the University of South Carolina.  I came to this academic place in my life after spending many years studying sociology, focusing on gender roles and women’s experiences.  When I was in grad school in DC, I read Alice Walker’s book — still one of the most important books in my life — In Search of Our Mothers’ Gardens.  In this book, Walker talks about how poor, unschooled, and under-valued women have not always had the luxury of canvases on which to express their creativity, and therefore, they captured canvases wherever they could find them.  In the way they planted their gardens, for example, with the deep green of sweet peppers juxtaposed against shiny red tomatoes — in the arrangements of carefully canned produce on their pantry shelves — in the quilts and hooked rugs they made for their homes.  Thus, in so many ways, the work that women traditionally did became, for many women, an expression of the creativity residing in their souls fighting its way out.  This is yet another reason why no one has the right to say what is art or not.  Art is gut and soul — the quilter and embroiderer feel this no less than the ceramicist or sculptor.

Susan Lenz’s primary medium of choice is embroidery.  She calls herself a contemporary embroiderer — I call her a genius.  Susan has taken this traditionally female art medium from the quiet laps of working women (all women are working women — whether they get paid for it or not; and by the way, most don’t) and placed it on the walls of galleries and art exhibits where it rightly belongs.  But don’t expect samplers and doilies when you see Susan Lenz’s work — expect to be moved, shocked, overwhelmed, elated, and devastated.  It can be intense.

Susan’s upcoming exhibit at Gallery 80808 on Lady Street is called Blues Chapel and Last Words.  In it she has taken the images of 24 blues divas and adorned them with the gilded glory anyone who made the contributions they did, deserve.  People like Ma Rainey, Billie Holiday, Bessie Smith, and Nina Simone.  Susan has literally coronated these women with golden halos endowing them with dignity, engendering reverence.

I’m lifting the following quote from Susan’s blog —

“Early female blues singers lived in a male dominated society, in a segregated country, and worked in an industry that took advantage of their lack of education and opportunity,” Lenz said. “Physical abuse, drug and alcohol dependence, and poverty plagued most. They struggled, made sacrifices, and sang of their woes. They helped change the world for today’s young, black, female vocalists.”

Last Words, the accompanying exhibit which has been integrated very well into this show, represents the miles and hours Susan spent visiting cemetaries, literally across continents, collecting silken grave rubbings from headstones and monuments then bringing them home and transforming them into 30 art quilts.  The arrangement of the exhibit is such that if Blues Chapel represents the Church, then Last Words serves as the church yard.

The opening of the show is Friday night, February 5th from 6 to 8 pm, with a performance by local blues artist Eboniramm beginning at 7 Pm in conjunction with The Blue Martini, which shares a hall with Vista Studio’s gallery.  Eboniramm will be the lady singing the blues in tribute to the artists we will all be honoring on Friday night.  My friend, the artist Susan Lenz, included.  The reception will end at 8, but the gallery will be open until midnight, and the exhibit will also remain open for viewing as well.  Then at 9, Eboniramm will reprise and expand her tribute at the Blue Martini for a $5 cover charge.

It’s going to be a beautiful night — I hope I get to see you there.

For more info visit Susan’s blog at http://artbysusanlenz.blogspot.com

January 30, 2010

Think about W. Heyward Sims & Cage Match: Clarity vs. Chaos

It may just be me, but I think the local visual artist/musician W. Heyward Sims is a bit of a character.  He’s pretty young now, but he already has this quirky, alt-hipster thing going on and, being a woman of a certain age, I can almost see the old coot he is one day going to be.  I like it that the boy has this uncultivated scruffiness about him — affectedness in an artist (in anybody, really) drives me crazy — people need to just be, dammit, and see what happens.  And I like it that he can hold up his end of a conversation.  Hell, I’m thrilled when I can talk to anyone who came out of  the South Carolina public education system and they voluntarily introduce subjects like Mark Rothko and Marcel DuChamp into the conversation.  So, I’m feeling a bit intrigued by Sims’  upcoming show at Frame of Mind.  He’s calling it Cage Match:  Clarity vs. Chaos.  I’m thinking we might just have some thought-provoking art coming our way.

Sims works in mixed media and, from the handful of pieces I’ve seen and heard will be in this show, it looks and sounds like that’s what we’ll get a lot of — think the addition of paper, glass, or even appliance for that matter, to oil, acrylic, or another medium.  I also know for a fact that he is introducing one or more pieces that by their very nature will be controversial.  Hmmm …, art that makes you think, and possibly banter and debate.  I’m down.  One of the pieces already has my feminist ire on end, as much as I appreciate the potential race-relation subtext — without even seeing the piece, it contextually makes me want to laugh at the silly little white  boys I grew up with and the men I fear too many of them became.  But hey, that’s just me — it’ll be interesting to see what other people think.

Thinking is the thing.  The whole premise of Sims’ show demands the viewers to think or walk away confused.  This is good.  I mean, flowers and landscapes are nice but we can all pretty much agree on that.  There’s certainly a place in the art world for pretty.  But what I really like is art that I’m not sure that I like or not.  That sounds antithetical, I know, but think about it.  Isn’t it more challenging to you as a viewer — and more rewarding — if you have to spend some time with a piece of work before you feel like you know it — and possibly love it?

I’m not pretending that the world isn’t full of too many people who feel way too comfortable in their little black and white realms.  It’s easy when you only have two choices to make:  chocolate or vanilla, good or bad, hate or love, right or wrong.  But that kind of artificial reality, and the reticence to recognize that life takes place in the gray areas, is nothing more than a sham existence for lazy people, fearful people, and wimps. As much as those of you who  know what I’m talking about should come out and see Heyward Sims’ show, those of you who don’t, should come and see it even more.

Thinking.  It’s a good thing.

Cage Match:  Clarity vs. Chaos, the February installation in the FOM series, opens on February 4th at 7:05 at Frame of Mind — 1520 Main Street.  See you there.

January 17, 2010

Rent surprises, criticizing/supporting/being discriminating about the arts, & this awesome young chick at Trustus named Katie Leitner

Who doesn’t love a surprise?  But when the Beer Doc and I scooted down Lady Street on Friday night to finally get a seat to see Rent, I wasn’t really expecting anything surprising.  Having seen it on Broadway several times before, then watching the film a couple of times with the wunderkind, I entered the theatre with a lot of the lyrics already buzzing in my head.  I was just looking for a fun evening to bask in what I thoroughly expected to be some outstanding performances — Dewey Scott Wiley rarely disappoints — and I was prepared for the requisite weaknesses that usually accompany community theatre.  Plus, I had already heard from some reliable sources who know their way around the stage and the audience (aka Larry & Coralee), that the show out-right rocked.

(Disclaimer here — I’ve had the honor of recently taking a seat on the board of directors of Trustus Theatre. What this basically means is that I have agreed to give the theatre some of  my time and my ideas — what this doesn’t mean is that I now have to think or say that everything that comes off the stage is excellent.  I’ve a been a long time supporter of Trustus, along with Workshop, Town, and USC theatre companies, and I will continue to support these companies along with all the artists, arts venues, and arts organizations in town who are brave and generous enough to share their gifts with our community.  Everyone already knows how I feel about negative competition between arts organizations in a city our size.  Way too much energy is wasted on one dance company nay-saying another, or one theatre company patron refusing to attend a perfectly lovely show at a venue different from the company they typically support.  Artists and arts supporters should band together to create a unified front against the ignorant amongst us who believe the arts and arts funding is a waste of time.  Nasty internal criticism within the arts community is tantamount to aiding and abetting any enemy of the arts — and believe me, they are out there.  Discriminating taste is needed and important — but helpful criticism takes a deft and acquired hand.  There is a role for the informed critic — to raise the barre, keep things honest, and piss people off — but that role is not mine. That said, I always have been and will remain a simple supporter of the arts and not a critic, and I will also continue to abide by the good manners I taught my own children:  If you don’t have anything good to say about something, then don’t say anything at all.)

Back to Rent and surprises —

The show started out wonderfully with the full cast opening up the classic Seasons of Love — you know, the five-hundred-twenty-five-thousand-six-hundred-minutes song — with full and melodic vocals — filling up the theatre and putting all of us on notice that this show was being taken seriously by its cast and director.  I had already heard that this was the case so, no surprise here, but still, a sense of pride and pleasure all the same.  And that was pretty much the way it went through the night — Kevin Bush was so professional, as always, reminding me how lucky we are that he is ours.  Lanny Spires knocked Angel out of the park and made me smile that a sweet southern boy from Chapin could pull off a part like that so adeptly.  Terrence Henderson’s voice sounded like warm butter oozing through stacks of steamy sweet pancakes, and I hated it when he stopped singing.  Even the less challenging parts were executed well and I wouldn’t call them weak at all.  In fact, the one weakness in my humble view was one of the night’s two surprises for me and I’m not even sure how it came to be.  Could have been a bad night, could have been poor casting, could have been an actor slipping precariously over the top with her/his performance — who knows. (Again, not my place to say.)

The other surprise is what I want to talk about — her name is Katie Leitner and her role was that of Mimi.  I know from reading my program that Katie is a freshman music ed student at USC, and that she has performed at Town Theatre in Grease, Guys and Dolls, and Beauty and the Beast. I know from Facebook stalking her that she graduated from Brooklyn Cayce High School, that her family is pretty cute, and that she has a sister who looks really familiar — former student maybe?  But I know from sitting in the first row Friday night that this girl has a future in the arts and I hope it’s not just in teaching little children how to play the piano.  Katie’s stage presence reflected great maturity — her vocals were controlled and balanced — beautiful, but never over the top, the way she could have taken them with such an audacious part as Mimi.  She displayed the kind of maturity that allows an actor to both own the stage and share it at the same time — lovely to see this in local theatre, especially in an actor so young.  For these reasons, Katie stole the show.

Kudos to Dewey Scott Wiley — who I have actually never met — and to the cast of Rent.  And best of luck to the young Katie Leitner — I’m looking forward to seeing more of this child on our city’s stages.


January 14, 2010

Be true to your school, I do, they dance, no day but today, & Beer! Beer! Beer! — + strings & jeans

It seems that life is getting back to normal these days — the parties are over, the garland is down (most of it, anyway), and the routine is starting to set in — if you believe in routines, that is.  I’ve never been one to dig into the rut — too claustrophobic for me.  I can see why some folks find the rut functional –it’s safe and can be comforting, I guess.  But if the rut gets too deep, it becomes harder and harder to see out of it and the next thing you know, it becomes a maze — and then — you’re trapped.

I’ve always been a fan of second and third careers, changing majors mid-stream, and letting the flow take you where it may.  Life never gets dull — it’s a sin to be boring.  That said, this is what we’re doing this weekend, starting tonight.

On Thursday at 7, my eldest and her beloved are going with me to see the Women Gamecocks play some mighty bball at the Colonial Center.  The Beer Doc drags me to as many of his little sporty events as he can, but never seems to be going in the direction of the arena when the Big Girls play.  Yesterday, after mentioning that the guys were playing LSU last night and that we should all Go Cocks and the like, one of my new students, the amazing Ms. Ebony Wilson who happens to play guard for the Women Gamecocks — and no, don’t give me any of that “lady” Gamecock crap until you’re ready to call the boys the “Gentlemen” Gamecocks when they play ball — asked me if I was going to their game tonight.  Zap!  What kind of Women’s Studies instructor am I if I don’t go out and support some of the toughest and most talented women of the university?  So, I’ll be there waving the garnet foam finger that Annie gave me for Christmas — Gamecock women are #1, in my book now, and Ms. Ebony Wilson happens to wear a #1 on her jersey.  Tonight’s game will be preceded by the best chee-boogie & brew in town at my beloved Hunter Gatherer.

And then there’s Friday night.  If you read my last blog & review of the film, you know that I’ll be attending the 5:30 showing of La Danse at the Nick, which will be preceded by some used-to-be surprise nuptials of two dear friends.  For all intents and purposes, the I dos are still a surprise if you haven’t been formally invited to the wedding or if you aren’t friends with the folks — of friends with their friends — on Facebook.  So, everything that I wrote yesterday still stands if you find yourself still in the dark — and I hope to see you there. In the light, before the film starts.

But for me and the Beer Doc, we’ll be darting out the back door of the theatre about half way through so we can grab some snacks and libation before we head down to TRUSTUS to see Rent.  This will only be like my umpteenth time of seeing this play, all other times on Broadway, but I am just so excited about seeing Kevin Bush play Mark — a role that both he and Doogie Howser were made for.  It only runs through next weekend and tickets are slim pickin’s, so if you have your heart set on going, as well you should, call the theatre at 254-9732, and beg Joe for a ticket.

After Rent we hope to make it down to CMFA at 914 Pulaski Street to take part in my friend Aaron Pelzek et. al.’s artist-driven extravaganza, Playing After Dark #4 — Free Form.  Aaron and buddies have brought together an awesome group of artists who will bring you everything from art-in-the-making via my friend Karen Storay, to Sherry Warren’s choreography (also my bud), a local band called The Noise, puppetry, poetry by Charlene Spearen (yes, a bud), scenes from Jaques Brel is Alive and Well — a play I was just writing about in the Beer Book, oddly enough, and, hell, I don’t remember — a bunch of stuff.  My friend Jeffrey wrote a nice little ditty on this event on his blog at http://carolinaculturebyjeffreyday.blogspot.com/.  The shenanigans start at 7:30 — which is why we’ll be coming in at the tail end, but never fail — the whole shebang is going to crank itself back up again Saturday night at the same time, same station.  Tickets are like $5, so seriously, head out to this event and show some love to local artist driven arts.  It’s the way it should be.

Which brings me to Saturday — the day of the second annual Columbia hosting of the World Beer Festival at the Columbia Convention Center.  There are two sessions, afternoon and evening.  Having made the mistake of attending as many sessions of beer events as offered before (read about this in Bob, Beer, and Me, coming out this spring/summer, by god!), we will only be attending the afternoon session — after which we will promptly crawl to our hotel room in the Vista and snooze until the evening festivities commence with yet another freaking basketball game — the Gentlemen Cocks, this time.  Is it possible to OD on sports?  Is that something that happens to the hard-core — read Beer Doc — or has he developed an immunity or a tolerance — built it up in his system, as it were, leaving him protected while his neophyte woman remains susceptible to sports poisoning and may just have to sneak out at half time, already clad in her blue jeans, to the Koger Center for some strings?  It is time for the Philharmonic’s Beethoven and Blue Jeans, after all.

After running in and dropping off a coat closet of old coats at the Art Bar last night — thanks to Chris Bickel for his generous offer of collecting a scad or two of coats for the cold during karaoke — I felt the yearning for the good Art Bar people in my soul, so the night should finish us up, just a few blocks from our hotel, at the best place to be in the city after 1 am.  We are so lucky to have that place.  Really, take a minute and thank your maker for the Art Bar.

Whatever your drug of choice, get drunk on the goodies going on in our beloved city this weekend.  I’ll see you around town.

Cheers, Y’all.

January 12, 2010

Review — La Danse at The Nick — (Don’t miss this beautiful film)+ Surprise Romance Columbia Style

Don’t be surprised if you feel oddly out of place when viewing Frederick Wiseman’s film, La Danse, opening at the Nickelodeon Theatre on Wednesday night.  The sensations evoked when watching a Wiseman film must be akin to something one might experience in a limited time travel situation.  Limited in that the subject matter and singular grouping of locations never change – think the various wings and wards of a hospital, the corridors and classrooms of a high school – but approximating time travel in that the viewer may find herself plopped down at any point in a controlled period of time – yesterday, next Thursday, earlier today at lunch – and witness to any variety of the mundane and the exotic – in this case, dying silk in a pot over a gas flame, vacuuming the loge in Paris’s Palais Garnier, or peeking into the sweaty rehearsal of Swedish choreographer Mats Ek’s La Maison de Bernada by the étoiles of the Paris Opera Ballet.

Transforming the viewer into the voyeur is, to a great degree, the point of documentarian Frederick Wiseman’s films.  And he has made almost forty of them, with objects of study ranging from a hospital, high school, racetrack, or zoo, to welfare, meat, the deaf, and domestic violence.  In every case, Wiseman settles himself for four to six weeks at the particular institution under observation, with very little preparation, and simply begins filming.  When he accumulates a hundred or so feet of film, he stops.  Then the real work of cutting and editing and arranging begins.  The result:  a brilliant amalgam of recorded experience, often poignant and beautiful, yet completely lacking in contextual information, exposition, or any kind of narrative arc.

La Danse (2009) is Wiseman’s latest effort in the observational mode of film-making, sometimes called direct cinema, and it may be his most beautiful.  His subject matter this time is the day-to-day activity under the roof of the neo-Baroque architectural masterpiece that is Paris’s Palais Garnier, the home of the famous Paris Opera Ballet.

Wiseman drops us in to the commotion of the ballet company as it prepares for six upcoming performances : the afore-mentioned Mats Ek project from the Cullberg Ballet, based on the Spanish play, La Casa de Bernarda Alba (The House of Bernard Alba) by Federico Garcia Lorca; Orphée et Eurydice (Orpheus and Eurydice) by the recently deceased Pina Bausch, famous for, among other things, her influence in the development of the Tanztheatre (dance theatre) style; Pierre Lacotte’s  restored classic Paquita; Angelin Preljočaj’s contemporary ballet, Le Songe de Mérdée; the German choreographer Sasha Waltz’s abstract setting of Romeo and Juliet to a Berlioz symphonic score rather than the traditional Prokofiev; and, the sleek 1967 version of Casse-Noisette (The Nutcracker) by Rudolf Nureyev, rather than Petipa, which most Americans are accustomed to seeing.

In French with English subtitles, Wiseman brings a heavily-detailed intimacy to this project, often shooting from the vantage of just outside the door to the activity he wants us to see.   We are literally peeking in – spying on what’s going on.  What we get to see is not the always perfect presentation the Paris Opera Ballet puts on stage.  We are privy to the imperfect rehearsals, dancers actually learning the choreography, complaining about their corrections, becoming frustrated with themselves, their partners, and their ballet masters.

But there is far more than dance to Wiseman’s film, as his camera plays homage to almost every brick in the building of an arts institution:  the custodians, the costumers, the painters, the Director of Dance, Brigitte Lefévre, whose stylish red coiffure shows up in frame after frame – even the beekeeper on the roof.  One scene takes us meticulously through the mid-day meal as dancers approach the cafeteria and we are shown shots of their various entrée choices, the boredom on the cashier’s face as she collects money, the dancers leaving full and fresh and ready to rehearse again.

And then there are the dancers.

The Paris Opera Ballet company is divided into five ascending tiers for dancers, beginning with the quadrilles and rising to the etoiles – the stars, or principal dancers of the company.  Wiseman makes use throughout the film of a camera angle which shoots down one or another exceedingly long hallway and forever up exhausting stairways, perhaps as a metaphorical commentary on the inordinate work which goes into becoming a member of this prestigious company.  As viewers we get to see the likes of such luminaries as étoiles Marie-Agnés Gillot, Laëtitia Pujol, Aurélie DuPond, Agnés Letestu, Delphine Moussin, and more.  And ultimately, we get to see these amazing talents present the product of their labors under Marc Chagall’s glorious opera house ceiling.

I have had the good fortune to sit under the largest piece of work of my favorite artist, Marc Chagall, before and witness the Paris Opera Ballet in person.  I remember the massive six-ton chandelier that drops from the Chagall ceiling’s center – not literally, mind you, though the 1896 accidental crash of one of the Opera House’s chandeliers did inspire Gaston Leroux to pen the classic Phantom of the Opera. And I remember the gilded Grand Staircase, the Grand Foyer, and all the gold and velvet and overwhelming sumptuousness.  I remember seeing for the first time, Le Jeune Homme et la Mort (The Young Man and Death). But with dance, it’s difficult to remember more than the sensations you experience as you watch it.  Sure, your mind captures images and freezes them in time – the height of a grand jeté, the pristine stillness when, en pointe, a dancer exquisitely pauses between phrases – no movement, time stands still.

Watching La Danse brought this all together for me – it connected the dots in my memory, gave me context and background and a renewed appreciation for what makes the best of the best – the best.  It made my heart swell.

Don’t miss the opportunity to be a voyeur and see the Paris opera Ballet backstage and on-stage in La Danse, showing at our Nickelodeon for the next week.  For tickets, contact the Nick at www.nickelodeon.org.

~~~

And if you love dance in Columbia like I do – if you love the people who dance it and the ones who do the work that allow them to – then make your reservation for the 5:30 show on Friday evening, January 15th.  Larry is doing a pre-talk and there is an absolutely beautiful surprise which I promise you will warm your heart until the day you die.  It’s a secret – I can’t say more.  But I can say, don’t miss this film and please do try to make it on Friday at 5:30.  You won’t be disappointed.

December 30, 2009

I get to be Susan Lenz for the night — at the FOM First Thursday opening January 7th

As most of you know, one of the first big arts events of the new year will take place on Thursday night, January 7th at Frame of Mind on Main Street, just across from the Art Museum and in between The White Mule and Gotham Bagel.  Mark Plessinger’s FOM series is presenting Reflections with Columbia’s own world renowned fiber artist Susan Lenz, featuring her Decision Portrait Series, as well as a few of Susan’s smaller pieces for those of you who can’t resist taking home some of Susan’s art and letting it become a part of your lives.  There are big things in store for the Decision Portrait Series, which is to say, it has future engagements scheduled, and the items are therefore not available for purchase at this time.

It seems, in fact, that Susan’s dance card is quite full these days.  Her glorious installation, Blues Chapel, which honors amazing blues divas like Billie Holiday and Ma Rainey and the glorious Bessie Smith, has been showing at The Gough Gallery in Denton, Texas for more than a month now.

Along with one of Susan latest projects, Last Words, an exhibition based on epitaphs and gravestone rubbings the artist has gathered, honored, and embellished throughout her travels, Blues Chapel will open here in Columbia at Gallery 80808/Vista Studios on February 4th and run through the 16th.  (More to come on this in a later post — suffice it to say, however, that Susan’s opening on Friday, February 5th, in combination with the Blue Martini’s tribute to her work on the self same night, which includes Eboniramm’s vocal tribute to the subject matter, has got your first Friday night in February covered.  Really — don’t make plans to do anything else.)

Unfortunately for Columbia though, Susan will be in Texas during the FOM opening night festivities on the 7th, closing down the Blues Chapel’s run in Denton.

But Columbia’s misfortune is my gift because I get to be Susan Lenz for opening night!  No, I will not sign autographs, however I will have on hand a list of FAQs about the artist’s work as well as a cell phone in hand with the artist’s number on speed dial.  (Susan and husband Steve will actually be en route to Texas during the gallery opening — fingers crossed for good cellular reception as they traverse the deep South.)

Some of you have had the pleasure of seeing a few of the pieces in the Decision Portrait series already, as Susan has exhibited some of them in her gallery space as they were completed.  You folks already know how moving the faces and phrases on these pieces are; you know how the xylene transfers on the muslin fabric seem to both personalize and distance the subject and patron; how the sparsity of the words favors the intent of the message.  You are the ones who know not to miss this exhibit.  Those of you who have yet to have the pleasure — take my advice, pay a visit to Frame of Mind during the month of January — better yet, be there on January 7th – opening night, when I get to be the amazing Susan Lenz.

For more on Susan’s work and the Decision Portrait Series visit her website at www.artbysusanlenz.blogspot.com

December 21, 2009

Lee Monts and the joy of local artists in local print

Filed under: Lake Murray Magazine,Lee Monts — cynthiaboiter @ 14:21
Tags: ,

I got an email from my friend, the local artist Lee Monts, this morning, telling me he had heard that the article I wrote about him for Lake Murray Magazine was out.

You have to know the back story on how I’m still waiting on some of my articles on local artists to show up in local print to realize how satisfying it is for me to actually hold the product of my local labors in my local hands.   To be honest, I haven’t really physically touched this printed article yet — the Muddy Ford mailbox and paper tube are at the end of our quarter-mile-long driveway (and I use that term loosely) and I haven’t made it down the road yet today — but I believe Lee.

Since many of you may have  either given up on The State these days and let your subscription lapse — and really, I can’t blame you — The State fired almost everyone I ever wanted to read last summer; or, like me, you’re on CBT (Christmas Break Time) and that mailbox is just a little too far down the path for venturing out to; and, since I do want everyone to know the spectacular story of artist-come-lately Lee Monts, I’m providing you with the copy to the article below — but you’ll have to find the photos for yourself.  I hear they’re pretty.

Thanks to Lee for working with me on this.  He’s a talented artist and quite a sweet boy.

~~~~~~

Artist Come Lately – Chapin’s Lee Monts

By Cynthia Boiter

Chapin native Lee Monts is anything but your typical artist.  A clean-shaven, short-haired, bespectacled man of a certain age, Lee looks more like a librarian or a math teacher than a new-to-the-scene artist whose acrylics and assemblage works have been popping up all over town of late, especially since his successful premiere solo show at the DuPre Gallery in the Vista last summer.  If Lee looks less like an artist than one may think that may be because he has spent most of his adult life as a geologist, working as a program manager for the Department of Health and Environmental Control, only recently allowing his artist within the attention most of his patrons agree it deserves.

But Monts is not entirely new to the creative process.  As a child growing up, he recognized his own potential with the sketch pencil, but abandoned art as a hobby during his college days, focusing instead on his studies in geology.  A fascination with watercolors that began in college and lasted for years never proved fruitful for Monts, and it wasn’t until a friend gave him a set of acrylic paints as a Christmas present that he finally found the medium which seems to work best as a mechanism for his creative energy.

It was at about this same time that Monts reconnected with an old friend and educator, local artist Judy Bolton Jarrett.  “At the time I was creating wire mobiles and I mentioned that to her,” Monts recalls.  Jarrett invited Monts to offer his mobiles for sale at her gallery in downtown Chapin and, to his surprise, both the demand for his work and his friendship with Jarrett grew strong.

“While our styles are very different, she has given me a lot of great advice over the years,” he says.  “I rarely make mobiles anymore, but that early taste of validation for my creativity fueled my passion of wanting to produce art.  And so the painting began in November 2002.”

Within the next year, Monts’ work was picked up by several downtown galleries and shown as part of the Vista Lights exhibit at Cameo Gallery in 2003.

“I will never forget the excitement about approaching the gallery curator with my work prior to that show,” he remembers.  But, “once it was displayed, I quickly sold several pieces.”

Monts has gone on to show his work at Verve Fine Art and Interiors and the Idylwild Gallery, as well as being included in a number of group shows such as About Face, ArtCan, and Dining With Friends, and displaying pieces in several commercial locations, including Mr. Friendly’s New Southern Café and Eye Physicians and Surgeons of Columbia.

Clearly, Monts’ art has an appeal that is attractive to a variety of patrons in diverse showing situations.  “People tell me that my artwork is contemporary without being overly abstract, but that it is abstract enough that it is often ambiguous,” Monts explains.

In fact, Monts’ style results from what he terms “controlled randomness,” a technique in which he prepares the canvas before painting by applying the common primer gesso, floating a smaller canvas on the surface of the working canvas, and manipulating the smaller canvas to create organic and subtle patterns that take on a life of their own.  According to Monts, the ensuing “tree-like textures” serve to both surprise and inspire him as he works with the image, “moving the creative process in a certain direction.”

Monts is also interested in exploring other creative media, including encaustic work – using melted refined beeswax, and assemblage art – bringing together a variety of usually found objects into a purposeful collective design.  “Assemblages often take time while I wait for the pieces to fall into place,” he says.  “Sometimes they are almost there but an element is missing, then often unexpectedly, the right addition comes along.”

As an artist, and an individual, Monts may be considered something of an assemblage himself, coming into the profession later in life and experimenting along the way.  “I just never envisioned myself as becoming an artist,” he admits, “especially after I received two degrees in geology.  But I have always had that innate need to create.”

He further shares that, “Becoming an artist later in life has increased the quality of my life in many ways.  I take extreme pleasure in the pure act of creating, and that was missing in my earlier years.”

His advice to others who harbor an inner yearning to realize the product of their creative impulses?

“Do it!  Start!  Don’t let the fact that you don’t have a fine art degree hold you back,” he says.  “We never truly know what the future holds,” however, having begun his work as an artist in earnest now, “I feel certain I will be creating as long as I am physically able.”

Next Page »

Create a free website or blog at WordPress.com.