Why I'm Not Watching The Royals

As I write this, the Kansas City Royals are one win away from being in the World Series. I don't blame anyone for being excited. Twenty-nine years ago, I went to the parade when the Royals won the Series. Kansas City has had a long, rough road to get to this point again.

But I'm not watching the games, and I don't much care if they win or lose. Please don't hate me for this. Listen.

In high school, I noticed that anyone could name at least one artist (including playwrights) who lived hundreds, or even thousands, of years ago. No one knew a single athlete. This told me that art, in its many forms, has more of an impact on society, and history, than sports.

In college, I realized that the institution funneled a lot of money to the sports teams, and not much to the theatre department. But when they needed something from the public, who would they hit up? Theatre department alumni who are now famous movie and television stars.

Recently, I watched a mom and her young son waiting to pick up her daughter from dance lessons. The boy looked in the window of the studio, and his eyes went wide. He turned to his mother and said excitedly, "Boys!" I said, "Of course! There are lots of boy dancers!" His mother then quietly explained to me, "His dad told him boys don't dance. Boys play ball." My face fell. Hers was already there. We shared the same sad thoughts. I turned to the boy and said, "Well, there are lots and lots of boy dancers. Some are very famous. Look at those boys there. Aren't they doing a great job? Doesn't that look like fun?" He responded by trying to imitate what he saw them do.

Then, last night, a couple of things happened that really got to me.

I went to my niece's first high school symphony orchestra concert. She was in the regular school orchestra last year, but really wanted to be in the elite symphony orchestra, for which she had to audition. Of course, the family is all very proud of her, and it was on our calendars long before the Royals made the play-offs.

The concert was to start at 7:00. The Royals' game started at 7:05.

The orchestra director came out and informed the audience that she wasn't going to talk as much as she usually does during concerts (really, though, she doesn't talk that much), because she put everything she was going to say in the program, to save time, so "we can all get home and watch some baseball."

I'm sure there were family members of young musicians who appreciated that. But what message did it give the students, dressed in their formal orchestra attire, and tuning their instruments?

The high school orchestra played their three-song set. They were off the stage by 7:11. I checked.

The only things left in the program were the three pieces by the symphony orchestra. I thought, Dang, we're going to be out of here by 7:30. Not quite. Because they needed to stall for time before starting, the director said. We saw why several minutes later, as an athletic-attired young man rushed in, walked in front of the other students, who were wearing their tuxedos and black formal gowns, already tuned and warmed-up, and sat down in front of the conductor. He was the first-chair cellist, and the school soccer game he was playing in just ended, so he rushed over to the concert. He picked up his cello, which had been tuned for him. Now they could start playing.

When they were finished with the three pieces, they stood, we applauded, and the director thanked the audience for being there, then dismissed us quickly: "Go, Royals!" The music portion of the evening had lasted approximately 25 minutes. I heard that pieces were cut from the program at the last minute. I don't know the official reason, but from the look of things, I have a hunch.

There is usually a reception after these concerts. Cookies and punch. You know. To celebrate the young musicians and their hard work. It was conspicuously absent last night. I heard students saying they thought it was so people wouldn't hang around and keep others from getting home to watch the game.

So this is the message this group of young musicians got last night: Music is not as important as sports. You and your work as an artist are not as important as an athletic event. If you enjoying playing sports and music, we are happy to stop the concert, to keep the audience and the rest of the orchestra waiting for your arrival, because your soccer game is more important than your concert. You are more important than the rest of the people onstage with you, because you play sports.

I would never say that sports are not valuable. They absolutely are. They teach teamwork, dedication, ambition, strategy, hard work, and taking pride in what your body can do. These are wonderful things. (By the way, the arts teach these things too, albeit in very different ways.)

I also am not saying that, if a kid likes sports and the arts, she should have to choose between them. No way. (Although, now and then, when a conflict arises, a choice must be made.)

Nor am I saying it's wrong to be excited about your hometown team being in the play-offs. Of  course not.

I am saying that our society consistently makes sports more important than the arts. Athletes are more important than musicians, than dancers, than actors, than designers, directors, painters, writers, sculptors... And we are telling our kids that.

And they are listening.

ADDENDUM, 10-16-14: I've gotten some feedback from people who apparently think I'm slamming sports and/or athletes and/or sports fans. That was not my intention at all. I tried to communicate this in the post, but I guess I wasn't clear.

Sports are great. They are valuable. They are entertaining, and people who play can learn a lot about themselves, and working with others. I have nothing against sports or those who play/support them. Even I'm kind of excited that the Royals are going to the World Series, because that is a super-cool achievement.

My concern is that sports are often emphasized by the general population to such an extreme point that the arts, and especially kids who are interested in expressing themselves artistically, are repeatedly given the message that they don't matter, because they are not as important or, at least, not as cool. Our children suffer for this notion, and that's what I was trying to explain here.

I hope I've cleared up some misunderstandings.

It's a Beautiful Day for Good News, Vol. 3

Lately, my feed is overflowing with terrible news - most notably, the suicide of Robin Williams and the murder of Michael Brown (and subsequent fallout) in Ferguson, Missouri. As I'm also eyebrow-deep in a post-show emotional letdown (times four), it's been difficult to focus on good things in the world. But they're there, and so this is my attempt to remind us all that although bad things do happen, good things do too.

To support their six-year-old friend, forty classmates wore suits to school:
http://themighty.com/2014/05/40-boys-put-on-suits-to-stand-up-for-their-friend-it-worked/

When a restaurant reviewer made rude suggestions online, the outraged owner spun it, for charity:
http://abcnews.go.com/Lifestyle/restaurant-responds-review-requesting-servers-show-skin-clever/story?id=23749752

Professional wrestlers make a boy's last days very special:
https://www.youtube.com/watch?v=9RAhxhIHdpM

Two local men run to rescue a woman from rape, then hold the attacker until police arrive:
http://www.kmbc.com/news/wendys-employees-rush-to-womans-aid-during-rape/26824824#!bGMknB

LaVar Burton wanted to reboot Reading Rainbow as an app, so he mounted a KickStarter campaign for the massive sum of $1,000,000. This is his reaction when that goal was met - in 24 hours:
https://www.youtube.com/watch?v=3-XHuNcSMLc

By the way, it has now raised over $5 million - all for children's literacy:
https://www.kickstarter.com/projects/readingrainbow/bring-reading-rainbow-back-for-every-child-everywh

A cop is called to arrest a woman for shoplifting, but buys her groceries instead:
http://www.miamiherald.com/2013/10/25/3712044/miami-dade-cop-showers-family.html


Also, I don't know these kids, but this is a good big brother. Made me smile.

The Halftime Report: "Red Death" Reviews

We are halfway through our run of "Red Death" for the Kansas City Fringe Festival, and people are saying some really great things about it. Last night, our show drew a huge crowd, and I was absolutely stunned, watching the line of people enter the theatre to see our show. It was a long line, and we had to hold the house. It's an amazing thing, knowing that people are eager to share in something you've helped create.

So here are a couple of reviews. And, of course, ticket information for our remaining three shows: https://kc-fringe.ticketleap.com/red-death/dates


Robert Trussell, Kansas City Star:

Those who have attended performances at KC Fringe though the years expect to see something unusual, but few of us have seen anything quite like “Red Death.”

This one-act chamber opera from composer Daniel Doss and writer Bryan Colley offers a concise 40 minutes of vivid gothic horror filled with impressionistic images. The show, directed by Tara Varney and choreographed by Amy Hurrelbrink, is almost as much dance theater as it is opera.

This adaptation of “The Masque of the Red Death” by Edgar Allan Poe tells the tale of Prince Prospero, who retreats to his castle for a night of revelry with his entourage and servants while a plague ravages the countryside.

According to the program, Colley’s libretto borrows not only from Poe, but from the Roman poet/philosopher Lucretius Carus, Renaissance essayist Michel de Montaigne and Ecclesiastes in the Bible, but I confess that I’m too meager a scholar to comment on Colley’s choices. I can say that his libretto is loaded with compelling images.

Doss’ lush score, performed by pianist Michalis Koutsoupides, is darkly romantic, often returning to a haunting waltz-time motif. The music is so compelling that you can easily imagine what it would sound like performed by a full orchestra.

Tenor Nathan Granner plays Prospero with Shakespearean flair and his voice, as usual, is mesmerizing. Soprano Devon Barnes is impressive as Prospero’s unnamed servant, whose perception of the futility of existence draws her magnetically toward death.

Many Fringe shows are bare-bones affairs but this one shimmers, thanks to a delicate, evocative lighting design by Shane Rowse and elegant costumes designed and created by Varney and her collaborators. A cadre of dancers create dreamlike stage pictures.

In essence, this piece is a 19th-century meditation on death, but the combination of music, dance, creative lighting and inventive costumes will linger in the viewer’s memory.

 

Detailer, KCStage.com:

A very strong performance of an effectively creative adaptation of Edgar Allan Poe’s The Masque of the Red Death.

I am not an opera fan, but this presentation could convert me. First, it’s in English, it began with the spoken word, and the company gave out printed lyrics for those of us not used to listening to opera.

But the printed words weren’t needed to understand Nathan Granner. His voice was strong and clear, and his character was compelling. Gorgeous singing. That alone was worth the time.

Devon Barnes had a lovely voice when singing low and soft, but some of her higher sections had a piercing quality to me. Her physical reactions, particularly to the Uninvited Guest, were emotionally effective. Her acting came across as truthful, the emotions coming from within.

Bryan Colley’s libretto and Daniel Doss’s music were quite impressive. They captured the story succinctly, getting us in the spirit, enjoying the characters, and building to the climax. The entertainment at the ball provided emotional variety, and gave the individual dancers a moment in the spotlight, which they deserved. Michalis Koutsoupides accompanied with just the right volume, not drowning out the voices as too often happens in musical productions.

Tara Varney’s direction and Amy Hurrelbrink’s choreography created a powerful experience. The movement was natural, provided a variety of stage pictures that evoked emotion and added visual interest, and covered the audience well. The dancing enhanced the mood and the story, and it gave a fascinating visual behind Nathan’s powerful singing. Dancers Chelsea Anglemyer, Josh Atkins, Amy Hurrelbrink, Tyler Parsons, and Tiffany Powell blended beautifully as an ensemble, and also embodied unique personalities. They listened actively and carried out business that made the scenes realistic without pulling focus. The choreography allowed each of them moments to be featured. At one point their frantic, almost jerky, movements gave the impression of many more dancers than there were. This was an effective contrast to the fluidly slow movements, particularly when Coleman Crenshaw as the Uninvited Guest drew attention merely by his intense stage presence.

Bryan Colley designed a sparse setting that allowed Shane Rowse’s lighting to set the mood. One window lighted in red in one corner, a white-lighted clock in the diagonal corner, a bench with just enough props to give the dancers realistic business on one side and allow them ways to create pictures on different levels—that was perfect to set the tone and give space for the story to unfold. The patterned lighting changes were very effective, and the white light always pinpointed the main action. Tara Varney punched the ending with an evocative image.





ChaimEliyahu, KCStage.com:

The Fringe, bless its heart, brings us lots of work-in-progress: artists taking advantage of the chance to stage new work, to see how new scripts play before live audiences: simply staged, cut to suit the Festival's crowded schedule — gems in the rough. But here's one that I'd call a gem, cut and polished, all its facets working together: "Red Death" is an operatic diamond. I blame opera’s social trappings for burying its roots as popular entertainment. Bugs Bunny parodies, if not direct personal experience, leave us with nightmare fantasies of being trapped in swollen Wagnerian productions that just won't end. Never fear! "Red Death" packs its powerful punch in record time: I clocked Friday's opening performance at just 32 minutes. This will leave you time to admire Bryan Colley's libretto, available on the "Red Death Lyrics" sheet on a table by the Off Center Theatre door. Its story is adapted mainly from Edgar Allan Poe's familiar "Masque of the Red Death, with credited infusions from more esoteric sources (Lucretius, Montaigne and Ecclesiastes). This gem is set by composer Daniel Doss and brought to brilliant musical life by two outstanding singers — tenor Nathan Granner and soprano Devon Barnes — with pianist Michalis Koutsoupides filling in for the orchestra. But opera is the original multi-medium, and director Tara Varney, ably supported by choreographer Amy Hurrelbrink, has marshaled an artistic team that has these three musicians surrounded and outnumbered. Varney's family, with Hurrelbrink's help, has costumed a cast that includes five fine dancers. Chelsea Anglemyer, Josh Atkins, Tyler Parsons and Tiffany Powell join the choreographer herself in animating that silent threat that's inspired Granner's Prince Prospero to attempt their protection as guests in his party. Dance sequences flow smoothly into and out of the singing as the dancers support and advance the action. Actor Coleman Crenshaw needs no words — only his sinister, masked presence — to spoil the fun as the Uninvited Guest. But no spoiler alert is needed: even if you've somehow missed reading Poe, the title itself reminds us of the inevitable. Colley has brought his economical art not only to the libretto, but also to the stage setting, subtly enlivened by Shane Rowse's dramatic lighting. The lyrics sheet spells out his scheme rather more distinctly than it has felt in performance. Varney's direction brings all these elements and actors together in a performance that embodies the essential power of opera. Which you experience this week, quite cheaply and without any dress code. You will not leave the theater humming any of Doss's tunes. But you will be impressed by what a company of hard-working artists can do with a little space and a little of your time as their audience.

Fringeful: Why I'm Participating in Four Productions at Fringe this Summer

Really, it's not like I said yes to every project all at the same time. But, somehow, here I am, participating in four shows at Fringe this year.

I knew we were doing "Red Death," of course. It's been in the works for a very long time. (In fact, Bryan talked to Daniel about it about ten years ago, but the project got pushed to the back burner, like they often do.) Then, in February, after a staged reading of a short play I wrote, Kevin King, having recently seen me in "Carrie the Musical," asked if I'd be part of the revolving cast of his show, "Bad Auditions." He said he'd work around the show schedule of "Red Death," so no worries.

Last fall, I started as a co-director of an incredible ensemble called Project Pride, an LGBTQIA and straight, allied teen theatre group, started by Coterie Education Director Amanda Kibler. Our devised-by-the-teens show, "Queerios," was in March, and Amanda decided to re-mount it for Fringe.

So that's three shows.

Then, I heard MoJo Invocations was looking for submissions for their production, called "Free to Be KC," based on the soundtrack of my childhood, "Free to Be, You and Me." I submitted a story-poem about tolerance and acceptance, "The Cute Little Woman, Young Jacob, and Me." They're including it in their show.

Four shows, one Fringe, one exhausted, but happy, Tara.



"Red Death": https://www.facebook.com/events/818883604788578/  Ticket info: http://kc-fringe.ticketleap.com/red-death/





Project Pride presents: Queerios! "Things are getting better for queer kids, and it’s because of gutsy people like the teenagers who wrote this. A ticket to Queerios is a 2-for-1 deal: a scandalously charming hour of theater and an exhibition of contemporary queer youth courage." (Camp Magazine)http://kc-fringe.ticketleap.com/project-pride-presents-queerios/

 

Here's an article about "Bad Auditions." I'm thinking of adding some more hyphens to my personal "title." (I will be in the Friday, Saturday, and Tuesday performances.)  http://www.examiner.com/article/bad-auditions-mixes-comedy-with-audience-participation-for-fringe-festival






"Free to Be KC": http://kc-fringe.ticketleap.com/free-to-be-kc/

The KC Star's article on Project Pride presents: "Queerios!"

I am so proud of these young people, and I am so grateful to be part of this project. They are inspiring, generous, and compassionate. The future is in good hands.


The full article: http://www.kansascity.com/entertainment/article726366.html

The Coterie’s new Project Pride will perform at KC Fringe. Appearing: members (from left) Josh Metje, 15, Blue Springs; Claire Davis, 18, Lee’s Summit; Christian Williams, 17, Kansas City, North; Leanna Varney, 15, KC; and Leah Brownlee, 18, KC.JILL TOYOSHIBA/The Kansas City Star

    

   

Read more here: http://www.kansascity.com/entertainment/article726366.html#storylink=cpy

        

Before rehearsal at the Coterie (with the backdrop of Chitty Chitty Bang Bang), Amanda Kibler (right) educational director and co-director of Project Pride, talks with the cast. | JILL TOYOSHIBA/The Kansas City Star

    

Before rehearsal at the Coterie, the cast and co-director Tara Varney (left) burst out laughing during an improvisational game called "What are you doing?" The game is meant to free up their creative impulses and help them not think too much but react quickly. | JILL TOYOSHIBA/The Kansas City Star

    

 

    

    

 

 

 

 

 

ONSTAGE

Project Pride will perform during the KC Fringe festival — 5 p.m. Saturday, 3 p.m. Sunday and 7:30 p.m July 25 — at the Off Center Theatre in Crown Center. Tickets are $10. Call KC Fringe at 816-359-9195 or visit KCFringe.org.

The festival runs Thursday through July 27 at various venues. Read more about it in Thursday’s Preview section.
 

JOIN THEM ONSTAGE

Project Pride meets in November, December and January to create its shows. Auditions are in October. The troupe is open to all LGBTQIA (the I stands for intersex; the A for “allied” or asexual) and straight teens who are supportive of the community, in grades eight-12. No previous theater experience is needed. Interested? Email Amanda Kibler at akibler@coterietheatre.org.

Read more here: http://www.kansascity.com/entertainment/article726366.html#storylink=cpy

"Red Death" on KCUR

We had the great fortune to be contacted by the beautiful and talented Julie Denesha from KCUR, wanting to do a story on our play. She's an absolute doll.


http://kcur.org/post/new-opera-red-death-premiere-kc-fringe-festival









All photos by Julie Denesha.

Rehearsing "Red Death"

This has been an unusual rehearsal process. For various reasons, like schedules and location availability, we were forced to rehearse the dancers separately from the singers for a long time. Also, early on, the dancers were only available to rehearse when I had to work. Amy Hurrelbrink, who has been in several of our past shows (Lingerie Shop, KHAAAAN! The Musical, Sexing Hitler, Chicken Heart) is the choreographer for this show, and I trust her, and the dancers, completely. But I felt disconnected. And she felt disconnected, because although she had rehearsal recordings of the music, for a long time, they did not include the vocals, so it was hard for her to know what was instrumental, and when people were going to be singing. Of course, that's a detail that's rather important, but there was no way to reconcile that until after the singers knew the music.



Also, Amy killed Tiffany and Josh.



Fortunately, everyone healed nicely.

At the same time, it dawned on me that the script was not the script. This is opera; the script is the music. Daniel Doss was furiously composing, but of course that takes time, and at some point, it occurred to me that I couldn't really start my job of directing until after he was done.

Daniel showing Devon something very technical that I most likely do not understand. Opera singers peak mostly Italian, even when they're speaking English.

 

So I had to put my time into other things, like designing and building costumes.



And borrowing juggling balls from my brother.

We've finally been able to transition into having the entire cast in the same place at the same time. And we discovered that we had to alter some of the pieces in order to fit the puzzle together. There's no picture on the box to guide us in this process.



Look! A singer is singing and dancers are dancing, IN THE SAME ROOM.

 

The last couple of rehearsals have been an exciting, and sometimes frustrating, time of discovery. Collaboration really gets my creative heart pumping, and everyone is throwing out ideas to try. Some work, some don't, but the point is, everyone gets invested in the story we're telling. It's exhilarating.

And sometimes, silly.

"Red Death" will be presented at Off-Center Theatre, in Crown Center, as part of the Kansas City Fringe Festival.

The cast:
Nathan Granner
Devon Barnes
Chelsea Anglemyer
Josh Atkins
Amy Hurrelbrink
Tyler Parsons
Tiffany Powell
Coleman Crenshaw

Show dates and times:
Friday, July 18 at 8:00 pm
Saturday, July 19 at 3:30 pm
Monday, July 21 at 7:30 pm
Wednesday, July 23 at 7:30 pm
Thursday, July 24 at 6:00 pm
Saturday, July 26 at 9:00 pm

Tickets are $10, with a one-time purchase of a Fringe button for $5. (Keep the button! It gets you into all Fringe events.) Tickets (and buttons) are available at the box office, or you can order tickets online: http://kc-fringe.ticketleap.com/red-death/