A unique Bookshop event poses tough questions regarding the inexorable inevitability of death
Something about the uncertainty of what happens after death leaves people shaking in their boots. Is there an afterlife? Do we simply cease to exist? Mankind has been asking these questions for centuries, yet the mystery still remains.
However, the way in which people respond to death varies drastically by culture. Renowned dancer, teacher, choreographer and director Tandy Beal, along with her husband, composer Jon Scoville, became interested in the topic of the afterlife and decided that it should be discussed openly instead of people cowering away from the subject and keeping it under wraps.
Actors’ Theatre faces financial troubles
The recession has lambasted everything from mom-and-pop businesses to large corporations, but perhaps the most battered and bruised entity is the arts. We all remember the financial debacle that nearly canceled Shakespeare Santa Cruz’s 2009 summer season, but now the tides have turned on one of Downtown Santa Cruz’s own.
Tucked into the back corner of an unassuming Center Street building, sits Actors’ Theatre, an 88-seat black box where locals have come to see classical, contemporary and new plays, as well as improv, for the last 25 years.
Slow start, but big finish in SSC “Othello”
It's cold on these foggy summer nights in the Festival Glen up at UC Santa Cruz. But don't worry: the action heats up to stunning conclusion in "Othello," the third production of Shakespeare Santa Cruz's 29th summer season. It does take a while for director Pam McKinnon's modern-dress production of Shakespeare's tragedy of love, race and jealousy to catch fire; the intensity of the second half, including McKinnon's gutsy staging of the finale, far outshines the slower-moving first half with all its exposition. But a few impressive key performances—most notably Corey Jones' majestic Othello—keep the audience intrigued throughout.
Editor’s note: This week’s Poetry Corner features the work of J. P. Dancing Bear, the author of nine collections of poetry, most recently, “Inner Cities of Gulls” and “Conflicted Light” (Salmon Poetry, 2010 and 2008). His poems have been published in Mississippi Review, DIAGRAM, Copper Nickel, Third Coast, Natural Bridge, Shenandoah, New Orleans Review, Verse Daily and many other publications. He is editor for the American Poetry Journal and Dream Horse Press. Bear also hosts the weekly hour-long poetry show, Out of Our Minds, on public station, KKUP.
Local benefit held for artist Marc Gould
When a vacation in the Mt. Hamilton countryside ended tragically on Sunday, June 27 with a fire and three friends being airlifted to a trauma center for second- and third-degree burns, few people thought 57-year-old Aptos artist Marc Gould would never paint again, let alone survive.
Fortunately, after three skin grafting procedures for his arms and hands, and a great amount of pain medication, Marc left the hospital on July 13 and is undergoing physical therapy in Oakland.
Since the accident, the Santa Cruz art community has rallied behind him and organized a benefit art show in his honor to be held at The Mill Gallery on Aug. 6. At the exhibition, guests will hear live music, have the opportunity to purchase some of Marc’s art or other community artists’ works and participate in a raffle with prizes donated by local businesses. All proceeds will go to Marc’s recovery costs, hospital bills and living expenses.
Shakespeare Santa Cruz’s ‘Love’s Labors Lost’ shines
Rap music, dancing soccer players, dreadlocks, joint smoking, and a bicycle cop eating donuts would come as no shock to any Santa Cruzan. That is except, perhaps, as elements of a Shakespeare production. Shakespeare Santa Cruz’s 29th season includes all of these things and then some, and succeeds in carrying the markedly era-confined play over into the 21st century.
Under the clever direction of Scott Wentworth, Shakespeare Santa Cruz breaks “Love’s Labor’s Lost” from its traditionally unpopular role. On opening night, well-timed laughter spills from coat-clad audience members that sit in the UC Santa Cruz Festival Glen and trickles across the wooden set back through a backdrop of redwood trees. “Love’s Labor’s Lost” is a highly intellectual work that uses the elaborate witticisms of Shakespeare in the 1590s to grapple with the victories and inadequacies of language in relationships. The droll plot tests the oaths of the king and his men, sending them on abrupt forays into matters of the heart when the Princess of France and her ladies come to stay. The play dabbles with everything from love, to loss, to sex, to death, learning, duty, and wisdom.
Actor Corey Jones takes a deep look at his Shakespearean character
It takes one passionate actor to agree to play the same role twice, but when Artistic Director of Shakespeare Santa Cruz, Marco Barricelli, asked Corey Jones if he would star as Othello for the second time in his career, Jones jumped at the opportunity.
A resident actor at the Pacific Conservatory of the Performing Arts in Santa Maria for the last three years, Jones earned his acting chops with a wide variety of roles ranging from Max Dettweiler in “The Sound of Music,” to Macbeth, to Aslan in “The Lion, the Witch and the Wardrobe.” But it was not until he scored the role of Othello at PCPA, that he discovered his true passion for Shakespeare.
This year’s Cabrillo Festival of Contemporary Music blends the historical with the cutting edge
At the ripe old age of 48, the Cabrillo Festival of Contemporary Music (CFCM) somewhat paradoxically maintains a longstanding tradition of modernity. This year’s lineup reflects that dichotomy: Attendees will hear the works of newer composers like Jennifer Higdon as well as those of time-tested artists like George Walker, and cello virtuoso Wendy Sutter, who will play the contemporary music of avant-garde composer Philip Glass.
GT recently spoke with Higdon, Walker and Sutter about what we can look forward to—and back upon—at this year’s festival.
Show’s actors, ensemble ignite the Cabrillo Stage
When director Trevor Little took on the task of bringing all the glitz, glamour and grime of 1931 Germany to life, he had one choice: go big or go home. Lucky for us, he chose the former. With an awe-inspiring cast of commanding vocalists and dancers, an enveloping storyline that mixes romance, promiscuity, fascism and enough lingerie to make anyone’s head spin, Little’s rendition of “Cabaret” ends Cabrillo Stage’s summer season with a bang.