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Show ARTS Sunday, April 2, 2000 BoardHits Road, Finds New Fans Production Is Close to Kage’s Heart BY MARTIN RENZHOFER ‘THE SALT LAKE TRIBUNE Only one piece of advice is relevant when the discussion turns to making¢ name for yourself as‘a pop musician: Get out of town. Stacey Board is known in acoustic pop circles in Salt Lake City. Her driving sound and strong vocals @ Continued from D-1 where she captivates the head butler, Jean. In the next scene, in the are popular. She wants more. Board recently returned from herfirst extended role. “I have a hard time hating her and I don’t wantthe audience to,” ‘The butler returns and assists her death. “Miss Julie” has become one of ballets. The very nature of the story faces two keyissues, sex and class, and condenses them into a fundamental power play, a theme that remains relevant today. For Cullberg and Elsa Marianne von Rosen, on whom the title role Jean haveserved as pivotal points in the careers ofa number of dancers. Among them: Violette Verdy, Toni Lander, Cynthia Gregory, Erik Bruhn, Rudolf Nureyev and Glen Tetley. The Danish-born Lander,Ballet West’s principal teacher until her death in 1985, danced the role with Tetley for American Ballet Theatre. Britt Friberg —a memberofthe Norwegian National Ballet's artistic staffwhois staging “Miss Julie” for Ballet West — remembers Lander’s interpretation vividly. “With Toni, it was everything about her — her technique, her heart, her passion, her sense for ing it real — that was memorable,” said Friberg. For Ballet West, the role will be interpreted by two ballerinas: Maggie Wright, the company’s most seasoned female dancer, and Jessica Harston,a relatively young dancer who has quickly moved to the company’s forefront. For Wright, who will dance opposite Tong Wang,the ballet is one of the most significant challenges of her career. Since Julie is not ballet’s most sympathetic character, Wrightis looking for empathy in her interpretation of the title ‘Beaux Arts’: Bending Time, Having a Ball @ Continued from D-1 Patrick's memories as a child in Clovis, N.M., where his mother ran the town’s country club during the 1940s and ’50s. “I watched the womenengage in an endless battle for their place in the country-club pecking order,” Patrick said from his home in Los les. “Most men don’t see the powerstruggle that goes on among women,butI got to see it because they didn’t notice me as little boy.” These memories stuck with Patrick as he grew up and became a prolific playwright in New York’s off-off-Broadway scene in the early 1970s. In “The Beaux Arts Ball,” Patrick combined his early experiences with his great passion for artists and art history. He shows the extreme behaviors of dominated women while commenting on the growing commercialism in the art world. tour.It was not long — four performances in Boise and Seattle — and road-hardened musicians mightsneerat “Solo” is the third addition to Ballet West's repertory by van it. But a swallow’s maiden voyage outofthe nestisn't nonstop for Capistrano,either. says Wright. “So I look at Julie asa victim of circumstances. She's mean as hell, but she’s also been manipulated her whole life. In her era, honor was worth more than money, and she’s a victim of that society.’ So Wrighttried to find common ground with Julie, in “a strange sort of way.” “She's very insecure, and dancers in general tend to be insecure,” says Wright. “I'm very headstrong and Julie’s very headstrong. I'm very vulnerable and Julie’s very vulnerable, but she would neverlet you see that. “Tm not quite like that,” says Wright. “My husbandtells meI put so muchoutthere onstage for people to see, that they feel like they know me.” Kage attributes the ballet’s success to Cullberg’s grasp of the story. “(The ballet] is not difficult to understand, to know what's going on,” says Kage.“Thestory is clear. Birgit was a modern choreogra- pher whoused theclassical vocabulary to emphasize the class differences, and it worked.” Friberg believes Cullberg had respect for every movement she made. “There is no mime, butevery movement she made had to mean something. Thefirst time I was in it, I had never readthe story, but there was no way I could miss it because it was all there,” says Friberg. “Mostof all, [Cullberg] tells the story in a very touching way.” “Evening of Ballets II” opens with Hans van Manen’s “Solo,” described by Dance Magazine's Iren Wydler-Roth as “producing an effect like fireworks — bright, explosive andofunbelievable speed.” Board packed her sound systemin the trunk of her first two are “In and Out” from 1998 and “Polish Pieces” from 1999.) Set to Johann Sebastian Bach's Partita No. 1 for Solo Violin in B Minor, “Solo” gives three men a chance to shine in the spotlight ina series of dances that highlight their technique, musicality and humor. “‘Solo’ is straightforward dance, but with lots of choreographic wit,” says Kage. “In the hands ofvan Manen,the conceptof pure dance becomes exhilarating.” George Balanchine's “Four Temperaments” returns to the Ballet West repertory for the first time since 1975. Created in 1946 for the opening program ofBallet Society, the forerunner of the New York City Ballet, it is one of Balanchine’s earliest experimental works,fusing classical steps with a lean andangular style. Subtitled “A Dance Ballet Without Plot,” the ballet is inspired by the medieval beliefthat human beings are made upof four humors that di ii an i it Toyota Tercel, put the acoustic guitar in the back seat, left her husband at home and headed,byherself,out of town. “I'd donea little bit of traveling when I was a singer in a band,”said Board.“But this was just me, my butt hanging outin the wind.” Board tookcare of the travel arrangements, public- ity and bookings. “Twas all my own people,” she said with a laugh. “It was so satisfying.” Thetrip was an importanttoolto open doors outside Salt Lake City, which has a limited venues for local performers. Board’s husband, Tony, has a “regular” job, but being a musician is her bread and butter. ww The singer and songwriter has recorded two compact discs —’Simple Thing”and“Not Love Art,” both available here — but she wants to expand her audience. 3 “It's a big step,” said Lara Jones, anotherSalt Lake Stacey Board says,“I'd done little bit of traveling when| was singerin a band. But this wasjust me, mybutt hanging out in the wind.” City musician whohas experienced the uncertainty of the unknown.Jones has toured the West and Northwest with bands Atomic Deluxe and CommonPlace. “You don’t know whoyouare goingto meet, or how you will react or interact,” Jones continued. “I've neverbeen out by myself; that would scare the hell out ofme. More powerto her for doingit.” Getting name recognition outside Salt Lake City is important. For example,local band Fat Paw created its own Ss temperament. It is these four humors — melancholic, sanguinic, phlegmatic and choleric — on which Balanchine based each movementof the ballet. In “The Four Temperaments, “ dancers perform in practice clothes on a bare stage to a commissioned score by Dutch composer Paul Hindemith. Dance historian Bruce Fleming wrote that “The Four Temperaments” is a “dance made in the tenebrous depths of the human psyche;it is just movement, but because of the naked power, manipulation and intrusion in its movement, it is considerably more.” i the Northwestby constantly playing bars and clubs. “Thebestplace you cansell CDsis on the road,” said Jones.“But the crucial thing is booking well. I’ve had to beg local club owners,so to workoutof town can be tricky.” important, Board sold some CDs. “I expected people to look up from the books they weren't going to buy andsay,‘Excuse me,’ ”she said. “The minute I performed thefirst song, they were so warm and receptive.” Thenext day was a dayoff, but in reality it was a 10-hourdrive on theinterstateto Seattle. Board staved off the boredom by listening to cassette tapes and keeping time with a “chicken shaker.” While in Seattle, Board, who slept on Figueroa’s couch, performed at three popularspots, The Tractor, the Wild Rose andthe 4 Angels. “The Wild Rose is a lesbian bar, and Jamieis popular there andvery ‘out,’ ” said Board.“Strangely, even Board washelped by a national support system — Indiegrrl — that includes other female musicians. In Boise, Georgette Dashiell helped Board with a place to stay, while Holly Figueroa of Seattle helped with thoughI thought it would be the bestlistening gig be- cause the people there loved her, it was a big dud. There was more socializing. “The Tractor was cool because we played in the round.All the musicians were womenand we had two booking. WhenDashiell performed in Salt Lake City in Feb- sets of performances. It was fun and, thoughit wasn'ta huge turnout, the audience wasattentive. It was a ruary, Board helped her. “When I wasin Seattle, I hooked up with Jamie Anderson of North Carolina,” said Board. “She was traveling through Seattle and she liked mystuff. That was helpful.” Board’sfirst performancewas at Borders Books in Boise. Her low expectations for that gig were shaken by an enthusiastic audience response. They stuck around afterward and talked. Just as blast.” Afterfour days in Seattle, Board spentthe next day traveling — home. Fourteen hours later, the car was unpacked. Board alreadyis planningthenexttrip. “I expected to come back brokebut contented,” she said. “But I made twice as muchas I spent. Borders emailed meafterward, and I hope to go back.” @ April in Paris Jets, Sharks to Rumble at ‘West Side Story’ Auditions Girlfriends Productions and Dance Theatre Coalition’s “The Beaux Arts Ball” opens Friday at 8 p.m. at the Rose Wagner Performing Arts Center, 138 W. 300 South, Salt Lake City; perfor- * mances continue Thursdays through Saturdays at 8 p.m. with Sunday matinees at 4 p.m.; through April 22. Tickets are $18 general admission. Call 355-ARTS. Tickets for “The Beaux Arts Ball” opening night gala (including the show, party and appearance bythe playwright) are $50 and can be purchased bycalling 554-1153. Rodgers Memorial Theatre will hold auditions for their summer production of“West Side Story” on Saturday from 9 a.m.to noonat the theater at 292 E. Pages Lane, Centerville. Those interested should bring a resumean recent snapshot and comeprepared to sing 16 bars more jagged andseverely cubist as the evening progresses. Although Cobus did the bulk of the design and construction work, she contracted out some basic sewing and piecing work, while local artists put on the final stylistic touches by directly painting or drawing on the costumes. Designers Victor Saldivar and Cynthia McCourt also collaborated at creating the production’s many period andstylistic wigs. Because “The Beaux Arts Ball” calls for so manyelaborate and intricate costumes, Girlfriends and DTC have done more fund-raising than with their usual small-scale are mted by. Beaux Arts Ball” will h of an upbeat Broadway song. The with his otherplays. Patrick hopes audiences will have the same“riproaring time” he gets whenever he flies out to see his work put on. show will be double cast all roles are open. Y2K: Utah Musical Theateris in need of musiciansto play in the pit orchestra for the 2000 summer Uran Opera & EcypriaNn THEATRE COMPANY season and beyond. UMT's 2000 season will feature “All Ni Strut,” “Lost In Yonkers, Unsinkable Molly Brown” “1776.” Call Cheryl Ann Blackley at S&D MusicStudio, (801) 292-8707. questing submissions of fine art and crafts with a tennis theme.Call Singers with choral experience, good sight reading skills and voices suited to ensemble singing. To schedule an audition call Mary Lynne Ericksonat(801) 560-7093. Salt Lake’ Premier Professional Chamber Orchestra PUS Gg THE . ”. Canterbury Tales: The Canterbury Singersare holding auditions for an upcoming recordingsession. Doubles Anyone?: C Gallery and Tennisart at the Salt Lake Swimming & Tennis Club are re- PRESENT @ Constance Theodore, C Gallery, 466 S. 500 East, Salt Lake City, UT 84102-2705, or e-mail maryo@xmission.com or phone 359-8625.or 581-9239 for an appointmentor information. TALENT POOL 9 CHAMBER*ORCHESTRA 99-2000 Snaugural Season World Class Performances _ Not To Be Missed! Butfor Girlfriends/DTC,“The the now-lost Sun private club in 1998, “[ pointed out that he had written all these greatroles formen[in ‘Untold Decades’},” Sanderson said. “I asked if he had written a ' by Gioacchino Rossini tions haven't always shared the Tes one close shave after another when the resourceful the Rose Wagner, theater produc: Hesaid, ‘Oh I do have one, but no- DTC hopes to see this change when playwith any great women's roles. Nee produces it.’” ar. soon as Sanderson oh same success. Carolyn Wood of the west 500-seattheaterexpansion wi ee design aid Se 17 costumes in painting styles as of the Rose Wager is completed at Disguises existence, DTC will have a permameetotice inacountyarte Reilly, opes wi troupes. Already artists and com- often as brella insurance and fund-raising eeae eees ae “The Beaux Arts Ball” received As for Girlfriends Productions aa ‘feinOe ba—~Vick! 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Steiner Egyptian Theatre, Park City . la by * Appalacinan p ring Barber's Knoxville: Summer of1915 Friday, April 14,2000 + 7:30 pm. ing “The Beaux Arts Ball” from ‘Theatre INC. have used DTC's umas ; hilarious tri Make your appointmentwith the Barber today! organization,tohelpwith more a produced : surprises, intercepted notes d A raat Gi roel fod adler thn venld ote: Cored aaee geen ce ee Fi-i-i-GARO... FIGARO... FIGARO!!! penjperen ahae HeratFrovingioetins aod being A | Cop ands barber, Figaro, concocts an uproarious scheme to free the ee youngRosina from her — oe script, she knew she wanted to the end ofthis year. Beaux Arts Ball.”“I For the first time in its 20-year won AMERICAN VOICES Wagner Performing Arts Center. While modern dance flourishes at id WESTMINSTER KUG@EFM9O Douglas Kinney “NieDiner Wi Call 355-ARTS For Tickets Today! SYMUES ga 4 { ' |