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Eugene Weekly : Bravo! : 01.05.06

Bravo!

EW's Guide to the Performing Arts

Modern Marvel

Martha Graham's dance company comes to Eugene, the unspoken legacy of modern dance at its heels.

BY EMILY FREEMAN

Attempting to explain contemporary dance with words is similar to writing about a painting — you can come close to conveying the essence of the art, but you will never completely capture it. Similar to contemporary classical music and much 20th century poetry, modern dance channels its raw emotion through its sometimes abrasive, sometimes dissonant, but always powerful medium.

HERETIC. PHOTO BY JOHN DEANE ©

If you ask any dance expert or even someone who knows just a bit about dance, they're likely to tell you that Martha Graham was responsible for permanently altering the art of modern dance. Graham, who choreographed more than 180 works in her lifetime, including the acclaimed Heretic, Lamentation and Rite of Spring, founded her own dance company in 1926 based on her own techniques. These techniques, established on the most elementary of human movements such as contraction and release, laid the groundwork for a new form of dancing that was not always traditionally beautiful in its direct approach, but nevertheless moved audiences with its emotional honesty. Especially important to artists of all mediums in the years between the World Wars, the rough, angular technique Graham employed was starkly sincere in its portrayal of grief, anguish and even joy. It was this trait, among others, that solidified Graham's brand of contemporary dance as a standard for modern expression.

Today, 76 years after its founding, the Martha Graham Dance Company is still one of the most respected performance arts groups in the world. Even though it may be the oldest dance company in America, the group's performers are still wowing audiences with their edgy technique and classic performances of Graham's most celebrated work. Sunday, Jan. 22, the dance company will make its Eugene debut. The program consists of four pieces choreographed by Graham, including what many call her most famous piece, Appalachian Spring, which she choreographed to renowned American composer Aaron Copeland's musical piece of the same title. In a Hult Center press release, Michael Anderson, principal clarinet of the Eugene Symphony said, "It is going to be a double treat, because the music (Appalachian Spring) will be just exactly what Aaron Copeland wrote for the dancers (not the large orchestra version which came later) and secondly, because of the great tradition of the work and Martha Graham's company."

Copeland had originally composed the score with Graham in mind, tentatively calling it "Ballet for Martha." It was Graham who chose the title Appalachian Spring; the music is indeed reminiscent of the American pioneering spirit. Part of the score is even built upon the well-known Shaker folk song "Simple Gifts."

With her groundbreaking choreography and contemporary dance technique, Martha Graham joins the ranks of revolutionary 20th century artists like Picasso and T.S. Eliot. And although her art is difficult to explain in writing, perhaps we need to see for ourselves what Graham was trying to express in her dance; as she said, "The body says what words cannot." If this is true, then Martha Graham's art is one of the most eloquent yet.

 

Must See Music

BY BRETT CAMPBELL

Locally Grown

The second half of the performing arts season includes a slew of big-time events featuring visiting composers and performers. But a community's artistic vitality depends on its homegrown creative talent, so let's also give props to the enterprising music students at the UO Music School, who have created ensembles dedicated to performing contemporary music — including music they've written themselves. The 100th Monkey ensemble started several years ago and laid the groundwork for the new Eugene Contemporary Chamber Ensemble, which last fall played important 20th century music by Schoenberg and Ligeti plus original works. Sospiro sings medieval and new music by students, not such a stretch when you consider the medieval inspired contemporary music of composers like Arvo Pärt and John Tavener. And the New Frontiers Chamber Symphony and Eugene Composers Collective, comprising mostly recent UO grads, now promise to keep these young creative voices in town; the ECC begins a new monthly series of concerts at DIVA in February.

 

Glass Works

When Philip Glass and Steve Reich, Terry Riley and Lamont Young were conceiving so-called minimalist music in the 1960s, their radical simplicity and repetitive sonic processes felt like a fresh breeze to listeners whose ears were deadened by decades of the dissonance, density, and dodecacophony that dominated the academy and drove listeners from concert halls. But the music establishment, whose idea of "progress" was music that grew increasingly more complex and less tonal, resisted the minimalist revolution. Rebuffed by the traditional classical music venues, Glass and Reich, like rock and jazz musicians, put together their own ensembles (together and separately) to play their music, and found young audiences in downtown New York lofts, art galleries and dance concerts.

Phillip Glass

Glass's innovative operas and other stage works eventually drew much larger audiences, and lucrative commissions followed. He found a new outlet in scoring dozens of movie soundtracks, such as The Thin Blue Line, the mind-bending wordless trilogy that began with Koyaanisqatsi, and continuing through his strong recent scores for The Hours, The Truman Show and The Fog of War. Listeners who grew up listening to jazz, rhythmically vital rock or Indian music (a big influence on Glass, who studied with Ravi Shankar as well as Copland's teacher, Nadia Boulanger) seemed better able to appreciate Glass's static esthetic than those nurtured on classical music. You learned to listen for the gradual changes, not the repetitions — to hear the structure. Or you just grooved to the mood, especially if you were of the psychedelic persuasion.

Now, nearing age 70, Glass cranks out three scores at a time, tours half the year, runs a record label, publishing company and recording studio — he's Glass, Inc. He's collaborated with artists as diverse as Allen Ginsberg, Aphex Twin, Robert Wilson, Yo Yo Ma, and Suzanne Vega. Yet although Glass has been doing basically the same thing for three decades, his music remains controversial: the old avant-garde considers his simple tonality regressive, while conservatives deplore his rejection of Romantic convention.

For all his alternative credentials, Glass's career isn't really all that radical; like Haydn and Telemann, he found a form that works and stuck with it, leading to complaints that his music all sounds the same. Like Mozart and Stravinsky, he writes music to accompany theater and dance, and all his music benefits from his acute sense of drama. Chopin, Liszt and Debussy played their own new music in solo piano concerts, and at The Shedd on Feb. 15, alone with a piano, Philip Glass will be playing his own ruminative Etudes. It's required listening for anyone interested in music that goes back to the basics.

 

Mozartamania

The quarter millennial anniversary of Mozart's birth can't spark an Amadeus revival: the play and film of that name and the 200th anniversary of his death in 1791 already did that. Mozart's music remains ubiquitous, even as scientists tell us that piping his music into the womb won't get your kid into Yale after all, and sophisticates like classical music gadfly Norman Lebrecht scoff at Salzburg's favorite son as an unoriginal hack. It's true that "the brat" (as humorist and composer Peter Schickele called him) cranked out a lot of undistinguished stuff — he had bills to pay and commissions to obey — but often the music's very familiarity, apparent simplicity and memorable melodicism obscures its pellucid brilliance. Innovative or not, I'll put his late piano concertos, quintets, string quartets dedicated to Haydn, the last few symphonies, several of his operas and a few more scattered masterworks up there with any music ever written.

Eugene is lucky to have such committed advocates of this great music as the Oregon Mozart Players, and the week leading up to his Jan. 27 birthday features a multiplicity of Mozartean pleasures, including:

• a free lunch hour concert in the Hult Center lobby;

• the Northwest premiere of a new biographical film documentary;

• a concert featuring two of Mozart's loveliest chamber music works, the Clarinet Quintet and Oboe Quartet, at the McDonald Theatre;

• another free concert at the UO's Collier House, featuring yet another lucid chamber masterpiece, the Clarinet Trio, on period instruments;

• an educational program called "Discovering Mozart" for high school and middle school students;

• and finally, a chamber orchestra concert at the Hult Center's Silva Concert Hall, featuring two of Wolfgang's most popular vocal works (with the Eugene Concert Choir), his magnificent last symphony, a scene from his greatest opera (with students from the UO Opera Ensemble), and one of the most beautiful works for orchestra ever written, the Clarinet Concerto, featuring the celebrated soloist David Krakauer.

It's a commendably diverse menu, and an ideal tribute concert for both the composer and one of our city's most valuable musical institutions, and certainly the don't-miss classical music event of the season.

 

Pop Goes the Culture

Classical music often gets stereotyped as out of touch: music produced by nerds who spend all their time practicing their instruments and listening to long-dead composers, with the result that they're more in tune with, say, Elgar than Elvis, much less Death Cab for Cutie. Michael Daugherty isn't that guy. His compositions include a concerto called Spaghetti Western, based on the Sergio Leone cowboy films; the Metropolis symphony and "Bizarro," based on Superman comics; "Dead Elvis," featuring a bassoonist dressed as the King, and "Elvis Everywhere;" the chamber opera Jackie O; "Le Tombeau de Liberace," and many more. A few years ago at California's Cabrillo Festival, I saw Marin Alsop conduct his UFO, featuring percussionist Evelyn Glennie dressed as a space alien, darting though the orchestra as it produced all manner of strange sounds, including "Star Trek" quotes.

But don't let the pop culture references fool you: Daugherty's music isn't mere kitsch or parody; he uses pop icons for inspiration and then makes compelling music using sophisticated techniques such as polyrhythms, big band jazz gestures, and Latin syncopations. The result is rhythmically charged sounds that appeal to listeners who appreciate jazz and rock as well as classical music. His use of humor and contemporary references is no more vulgar than Mozart or Haydn doing the same thing in their time. Listeners won't need program notes or a course in music theory to appreciate Daugherty's music when the Eugene Symphony plays five of his short pieces at the Hult Center on May 18.

 

 

Not Just Another Pretty Face

Eugene's Robert Cabell is way off Broadway.

BY TIM O'ROURKE

Ask former Eugenian Robert Cabell about his career as a playwright, videographer, columnist, producer, actor and documentarian and he won't stop talking. But he's not the egomaniacal New Yorker with a creative streak we see in movies. He answers questions about his success by redirecting the conversation to others he's worked with, pointing out how talented and successful they are.

Ruben Gomez, Robert Cabell (center) & Deborah Gibson

On the phone in New York, he found time to talk during a hectic schedule that includes releasing a comic book and reworking a theater production. When the subject turned to Pretty Faces (Actors Cabaret of Eugene's successful play performed off-Broadway), for which he wrote the music and lyrics, Cabell broke into a monologue about his friends Jim Roberts and Joe Zingo, who run ACE. When asked about his video editing company, for which he has filmed and edited productions such as Exonerated, starring Mia Farrow, Richard Dreyfuss and Jeff Goldblum, the conversation turned to Tony award-winning producer Jane Bergere and the wonderful job she did on this year's Glengarry Glen Ross.

Cabell's stories sound like they came from an artsy type's dream life – the sort of stuff most of us would include in Christmas cards. But to him, they're only part of the New York art world routine. When he first moved to the city so nice they named it twice (where "everything is compressed," he says), he was waiting in line at a deli, looked up, and saw Dustin Hoffman in front of him ordering a sandwich. Then there's that old chestnut about Liza Minnelli getting a bathroom door slammed in her face right in front of him. Or the one about Sinatra stopping by for a quick chat with Cabell and a lunch date. You like award shows? He's been to five MTV award shows, nine Tonys and has judged the Daytime Emmys for seven years.

But you wouldn't know it by talking to him … unless you keep prodding him for stories. "He's really down to earth. I think it's his upbringing here [in Eugene]," says Joe Zingo, artistic director at ACE. "He wears sweat clothes. He's grubby most of the time. He's not assuming in any way. Most of the ones who really are good are like that. They're not pretentious at all."

Grubby? Maybe. Successful? Definitely. Pretty Faces was a project "inspired by four women in Eugene, written by someone from Eugene, revived in Eugene and brought back to New York," says Cabell. A Pretty Faces CD recorded in Eugene recently went on sale. CD Baby (a popular online CD store) has already placed a second order and the CD was picked up by the famous Dress Circle music store in London. But Cabell quickly adds that people are talking about the quality of the sound, not his writing or music, and that it's amazing what the local studios did with his work. Typical.

Since the Pretty Faces run, Cabell has written Z: The Masked Musical, which was a successful album before its world premiere at ACE. He's currently working on I, Sara, a one-woman show premiering at ACE's Annex Theater in February.

He's also shopping a documentary he produced about comic book conventions, debuting his comic book The Hair-Raising Adventures of Jayms Blonde and making some changes to Z.

Just don't expect him to tell you how successful he's been.

Ties to Eugene

Robert Cabell finds time to make pilgrimages back to his hometown of Eugene every year. His life has been in New York for nearly three decades, but there are some things the Big Apple can't compare with. "It's a breath of fresh air to come home to Oregon to be with people who aren't neurotic," he says.

OK … OK. So we're down to earth. But he must miss that Zagat-reviewed food, right? "I ate at Soriah … and it was wonderful. It rivals anything I've had in New York," he says.

The grandeur of theater in New York must have made the surrounding areas bastions of the dramatic arts, right? "You'd be amazed with the schools on the East Coast. Class plays are still in the cafeteria in Jersey. People do not have a clue to the quality of things that [ACE does]," Cabell says.

There is one reason he keeps his ties in Eugene, and it has nothing to do with theater productions, our lack of neuroses or the skills of Eugene chefs. "I never lost my friends in Eugene," Cabell says.

 

 

Schedule of Events

DANCE

All That! Dance Company 688-1523 • www.allthatdancecompany.com

Jan. 21 Tea With Tights

Dance Theatre of Oregon 689-5189 • www.dtodance.org

March 10 & 12
Snow White and the Seven Dwarves (Hult Center)

Elsinore Theatre, Salem 503-375-3574 • www.elsinoretheatre.com

Feb. 24 Eugene Ballet Company: The Princess and the Pea

Eugene Ballet Company 485-3992 • www.eugeneballet.org • Tickets: 682-5000

Performances at the Hult Center

Feb. 25 & 26
The Princess and the Pea

May 6 & 7 Performances with Pink Martini

Hult Center

682-5000 • www.hultcenter.org

Jan. 22
Martha Graham Dance Company


Feb. 17 The EDGE: Dance for a Reason

Lane Community College Dance Department www.lanecc.edu • Tickets: 463-5202

Performances at Performance Hall

Jan. 27 & 28 Collaborations in Rhythm

May 20-22 The Works Student Dance Concert

May 11-13 Spring Dance Concert



Musical Feet

485-2938 • www.musicalfeet.com

Jan. 28
Winter Showcase (Agate Auditorium)


April 8 Spring Showcase (Agate Auditorium)

June 17 & 18 Final Student Concerts (Hult Center)


Newport Performing Arts Center

265-ARTS • www.coastarts.org

Feb. 10-12
Pacific Dance Ensemble: Dances from the Heart


April 14 UO Repertory Dance Company

April 29 Jefferson Dancers

May 12-14 T.J. Hoofers: A Mother's Day Celebration

May 19-21 Oregon Coast Ballet Company: Making of a Dancer

May 26-June 4 Pacific Dance Ensemble: Family Classics





UO Dance Department

dance.uoregon.edu

Performances at Dougherty Dance Theatre

Jan. 20-21 Dance Africa with Mondjou and Salif Koné

Feb. 9-11 Faculty Dance Concert

 




MUSIC

Arts Umbrella

484-0473 • www.artsumbrellausa.org

Performances at South Eugene High School


Jan. 10 Eugene Youth Symphony Winter Concert

March 7 Eugene Youth Symphony Evening Safari

May 23 String Academy, Encore Strings and Cadet Orchestra Spring Concert

May 24 Eugene Junior Orchestra Spring Concert

May 25 Eugene Youth Symphony Spring Concert





Cherry Blossom Musical Artswww.cblossom.org

April 21-22 Visual Music '06: Sight Sound Space Time (Lord Leebrick Theatre)

Chamber Music Corvalliswww.violins.org

• Tickets: 757-0902

Performances at LaSells Stewart Center, OSU

Jan. 11 Pacifica Quartet Berlin

Feb. 21 Debussy Quartet

March 8 Szymanowski Quartet

April 5 Peabody Piano Trio





Corvallis/OSU Symphony Orchestra

758-3052 • www.symphony.peak.org

Performances at LaSells Stewart Center, OSU


Feb. 12 Smetana, Overture to The Bartered Bride; Brahms, Piano Concert No. 1 (with Craig Sheppard, pianist); Shostakovitch, Symphony No. 9

March 10 Verdi, Overture to Nabucco; Schumann, Piano Concerto (with Rachelle McCabe, pianist); Sibelius, Symphony No. 2

May 23 Nielsen, Overture to Act III Saul and David; Greig, Piano Concerto (with Per Tengstrand, pianist); Brahms, Symphony No. 1



Corvallis Repertory Singers

753-2106 • www.corvallisrepertorysingers.org

Feb. 26 Winter Concert: The French Choir (First Presbyterian Church)


May 6 Spring Concert: Back to the Bard: Shakespeare in Song (Linn-Benton Community College)

Corvallis Youth Symphony Association

752-9343 • www.cysassoc.org

Feb. 4
CYSA with Pink Martini (CH2M Hill Alumni Center)


April 30 Young Artists' Concert (LaSells Stewart Center)

Aug. 15 "Mondays at Monteith" Concert (Monteith RiverPark, Albany)


DIVA

344-3482 • www.divanow.org

Feb. 25
Eugene Composers Collective/DIVA Collaborative

Elsinore Theatre, Salem

503-375-3574 • www.elsinoretheatre.com

Jan. 15
The Coats


Feb. 11 The Fab Four Beatles Tribute

Feb. 21 George Winston

March 4 Salem Pops Orchestra: Pops Goes the Pops

March 5 Salem Concert Band: In the Steps of Sousa

March 7 Christiana Pegoraro

March 16 The Celtic Tenors

March 26 Lew Williams

April 8 Manhattan Rhythm Kings

April 14 Pink Martini

May 7 Salem Concert Band: Songs of the American West

May 13 Salem Pops Orchestra: Pops Extravaganza Latina

May 19 OSU Chamber Choir

May 20 Festival Chorale Oregon: An Evening with Cole Porter & Gershwin

June 17 Salem Senate-Aires Chorus: Summer in the City feat. Metropolis Quartet

 















Eugene Concert Choir

687-6865 • www.eugeneconcertchoir.org• Tickets: 682-5000

Performances at the Hult Center unless noted

Feb. 25 Eugene Vocal Arts Ensemble: Contemporary Sounds

March 11 Misa Gaia with the Paul Winter Consort

April 8 Eugene Vocal Arts Ensemble: Renaissance and Romance (The Shedd)

April 22 Dona Nobis Pacem with the Oregon Mozart Players





Eugene Opera

485-3985 • www.eugeneopera.com• Tickets: 682-5000

Performances at the Hult Center unless noted

Feb. 3 & 4 Hansel & Gretel


Eugene Symphonic Band www.eugenesymphonicband.com

Performances at Beall Hall unless noted

Feb. 6 Winter Concert

March 11 Oregon Adult Band Festival (Performing Arts Center, LCC)

May 8 Spring Concert

July 4 Independence Day Concert (Washburne Park)




Eugene Symphony www.eugenesymphony.org

• Tickets: 682-500

Performances at the Hult Center

Jan. 19 Glass, "Facades," from Glassworks; Mozart, Violin Concerto No. 5 (with Martin Chalifour, violin), "Turkish"; Stravinsky, The Rite of Spring

Feb. 9 Haydn, Symphony No. 100, "Military"; Brahms, A German Requiem (with the Eugene Symphony Chorus)

Feb. 18 Tots to Ten Family Concert

March 16 American Legends: Bernstein, Three Dance Episodes from On the Town; Gershwin, Concerto in F; Copland, Suite from Billy the Kid; Gershwin, Rhapsody in Blue (with Kevin Cole, piano)

April 27 With Carlos Miguel Prieto, guest conductor: Beethoven, Egmont Overture; Schubert, Symphony No. 5; Revueltas, Suite from Redes; Liszt, Les Préludes

May 18 Season Finale: Raise the Roof: Michael Daugherty, featured composer-in-residence, Raise the Roof, Route 66, Red Cape Tango, Desi; Shostakovich, Symphony No. 1







Florence Events Center

997-1994 • www.eventcenter.org

Jan. 20-22
Winter Folk Festival


Jan. 21 Randy Sparks and the New Christy Minstrels

Jan. 22 John Denver Tribute Concert

Jan. 25 Cantabile

Feb. 15 George Winston

Feb. 17 Jeni Fleming Trio

March 10 Emerald City Jazz Kings: "Days of Wine and Roses: Songwriters After the Rock Revolution"

March 17 David Kaplan

April 22 Deborah Johnson

May 12 Emerald City Jazz Kings: "Harry and Hoagy: What a Pair!"

May 13 UO Symphony










Heart of the Valley Children's Choir, Corvallis www.hvcchoir.com

Performances at LaSells Stewart Center, OSU, unless noted

March 12 Spring Concert

June 4 Elizabeth Powell Scholarship Concert


Hult Center www.hultcenter.org

• Tickets: 682-5000

Jan. 28 Leahy!

March 22 Nrityagram

April 15 Harlem Gospel Choir



Lane Community College www.lanecc.edu

• Tickets: 463-5202

Performances at Performance Hall unless noted

Jan. 9 Music Faculty Concert (Blue Door Theatre)

Jan. 21 Oregon Jazz Festival (Performing Arts Building & Performance Hall)

March 9 Lane Symphonic Band

March 14 Chamber & Concert Choir

March 17 Spectrum & Jazz Band

March 19 Lane Chamber Orchestra (Newman Center)

May 9 Faculty Jazz Concert (Blue Door Theatre)

May 16 & 18 Vocal Jazz Invitationals

May 31 Lane Jazz Band & Guests

June 1 Lane Symphonic Band

June 4 Lane Chamber Orchestra (Newman Center)

June 6 Choirs & Spectrum Vocal Jazz

June 9 Jazz Combos (Blue Door Theatre)














LaSells Stewart Center, Corvallis

737-2402 • oregonstate.edu/lasells/events.html

March 11 Emerald City Jazz Kings: "Days of Wine and Roses: Songwriters After the Rock Revolution"

May 20 Emerald City Jazz Kings: "Harry and Hoagy: What a Pair!"


Linn-Benton Concert Band, Albany www.linnbentonconcertband.org

March 19 Mozart and Friends Concert (Russell Tripp Performance Center, LBCC)

May 25 Memorial Day Patriotic Concert Preview (Capital Manor, Salem)

May 29 Memorial Day Patrotic Concert (Majestic Theatre, Corvallis)

July 2 Joint concert with Monmouth-Independence Town Band (Monmouth Main Street Park)



Newport Performing Arts Center

265-ARTS • www.coastarts.org

Jan. 15
Mika Sunago & Rody Ortega


Jan. 23 An Evening with Groucho

Jan. 28 Newport Symphony Orchestra: Wolfie's Birthday: Mozart, Overture to The Marriage of Figaro; Mozart, Clarinet Concerto; Beethoven, Symphony No. 7

Feb. 16 Jeni Fleming Trio

March 9 Paul Winter

March 17 Black Swan Classic Jazz Band

March 29 Reedy Buzzards

April 15 Newport Symphony Orchestra: Evening at Pops: Nicolai, Overture to The Merry Wives of Windsor; Wagner, Excerpts from Die Meistersinger; Debussy/Leyden, Clair de Lune; Richard Strauss, Waltzes from Der Rosenkaalier; and more

April 23 Cantabile

May 6 Oregon Coastalaires: American Harmony

May 7 Gould Piano Trio

Aug. 24 Cwmbach Male Choir











Oregon Mozart Players

345-6648 • www.oregonmozartplayers.org • Tickets: 682-5000

Performances at the Hult Center

Jan. 27 Happy Birthday to Wolfgang, with Ricardo Morales, clarinet, Lauren Flanigan, soprano and the Eugene Concert Choir. All Mozart program.

March 4 & 5 Serenade for Strings, with Fritz Gearhart, violin: Mozart, Serenade, K 525 Eine kleine Nachtmusik; Danielpour, Apparitions; Bernstein, Serenade

May 6 & 7 Viva España! with Sharon Isbin, guitar: Mozart, Overture to Don Giovanni; Rodrigo, Fantasia para un gentihombre; Falla, Suite from El amor brujo




Oregon Music Teachers Association

Feb. 5 Bach Festival (Lane Community College)

Sam Bond's Garage

343-2635 • www.sambonds.com

Jan. 20
Matt Haimovitz with UCCELLO

Lucinda Williams

Shedd Institute

Info: 687-6526 • Tickets: 434-7000

Performances at the Jaqua Concert Hall at the Shedd unless noted

Jan. 26 Alasdair Fraser & Natalie Haas

Feb. 4 Chick Corea & Touchstone

Feb. 9 Oregon Jazz Guitar Summit: Mike Denny, Don Latarski, Dan Balmer and John Stowell

Feb. 15 Philip Glass

Feb. 17 Lucinda Williams

Feb. 19 Blind Boys of Alabama

Feb. 23 Dick Hyman

March 2 & 5 Emerald City Jazz Kings: "Days of Wine and Roses: Songwriters After the Rock Revolution"

March 7 Oak Ridge Boys (Hult Center)

March 9 The American Symphonia: Michael Anderson & Friends

March 11 Hapa

March 21 Bill Frisell — 858 Quartet

March 25 Ladysmith Black Mambazo

April 4 Kathy Mattea

April 6 Luciana Souza & Romero Lubambo

April 9 Cyril Pahinui, Dennis Kamakahi and George Kahumoku

April 18 Swang

April 27 Judy Collins

May 7 John Pizzarelli Quartet

May 11 & 14 Emerald City Jazz Kings: "Harry and Hoagy: What a Pair!"

May 17 Mark O'Connor's Appalachia Waltz Trio

May 25 The American Symphonia: Fritz Gearhart and John Owings

May 31 Jay Ungar and Molly Mason
























Imani Winds

UO Music

music.uoregon.edu

Performances at Beall Hall:

Jan. 12 Pacifica Quartet

Jan. 22 Louise Di Tullio

Jan. 26 Marcus Thompson with the Oregon String Quartet

Jan. 29 The Imani Winds

Feb. 13 Sarah Buechner

Feb. 16 Sam Pilafian with UO Jazz Faculty

Feb. 23 Nancy Andrew

Feb. 26 Debussy Quartet

March 5 Jasper Wood and David Riley

March 8 Chiayi University Orchestra

March 10 Oregon Jazz Ensembles with Paul Mazzio

Performances elsewhere:

Jan. 20 Oregon Jazz Festival (LCC)

Jan. 21 Dick Oatts and John Mosca (LCC)

Jan. 23 Goodvibes with Charles Dowd and Tracy Freeze (Gerlinger Lounge)

Feb. 10 Toby Koenigsberg (178 Music)

March 3-5 UO Opera Ensemble: The Marriage of Figaro (LCC)


















Marcus Thompson

THEATER

Actors Cabaret of Eugene

683-4368 • www.actorscabaret.org

Performances at ACE theater and the Hult Center


Jan. 27-Feb. 27 I Love You, You're Perfect, Now Change

March 17-April 15 1776

May 5-27 The Full Monty

June 9-24 Girls and Poise

July 7-30 Evita





Actors Cabaret Annex

683-4368 • www.actorscabaret.org

Jan. 13-22 Are We There Yet


Feb. 10-18 I, Sarah

April 21-May 6 The Memory of Water

June 16-July 15 Glue Trap



Actors Cabaret Youth Academy

683-4368 • www.actorscabaret.org

Performances at Actors Cabaret Annex


March 3-12 Grease (School Edition)

Albany Civic Theater

928-4603 • www.albanycivic.org

Jan. 13-Feb. 4
Seussical


Feb. 24-March 11 The Underpants

March 31-April 15 Enchanted April

May 5-20 The Miser

June 9-24 On Golden Pond

July 14-22 Gross Indecency

Aug. 18-Sept. 9 Into the Woods






Corvallis Community Theatre www.corvalliscommunitytheater.org

• Tickets: 738-SHOW

Performances at the Majestic Theatre

Jan. 5-8 Bullshot Crummond

March 10-19 Pygmalion

May 11-28 Jesus Christ Superstar

Aug. 11-27 Passion





Cottage Theatre, Cottage Grove

942-8001 • www.cottagetheatre.org • Tickets: 942-9195

Feb. 3-18 The Diary of Anne Frank

March 30-April 22 1776

June 9-24 Parallel Lives

Aug. 11-26 Ruthless




Elsinore Theatre, Salem

503-375-3574 • www.elsinoretheatre.com

Feb. 2
Maurice Sendak's Little Bear


March 3 MacHomer

March 9 Berenstain Bears

April 9 Hot Flashes

April 29 The Spencers — Theatre of Illusion




Hult Center www.hultcenter.org

• Tickets: 682-5000

Jan. 10-15 Mamma Mia!

Feb. 11 & 12 42nd Street

April 4-6 Oklahoma!



Lane Community College www.lanecc.edu

• Tickets: 463-5202

Performances at the Blue Door Theatre unless noted

Feb. 3-18 The Good Doctor

April 14-May 6 Much Ado About Nothing

May 26-June 3 Spring Inspirations




Lord Leebrick Theatre www.lordleebrick.com

• Tickets: 465-1506

Jan. 13-Feb. 4 Betrayal

March 17-April 8 Suddenly Last Summer

May 12-June 3 Sex Habits of American Women



Majestic Theatre, Corvallis

766-6976 • www.majestic.org

Jan. 20-22
A Fine and Pleasant Misery


Feb. 6-9 Ramona Quimby

April 12-15 The Jungle Book


Newport Performing Arts Center

265-ARTS • www.coastarts.org

Jan. 6-21
Coastal Art Productions: The Wizard of Oz


Feb. 24-March 11 Red Octopus Theater: A Midsummer Night's Dream

March 24-April 9 Porthole Players: Into the Woods


Oregon Shakespeare Festival, Ashland www.osfashland.org

• Tickets: 482-4331

At the Angus Bowmer Theatre:

Feb. 17-Oct. 29 The Winter's Tale

Feb. 18-Jul. 9 The Diary of Anne Frank

Feb. 19-Oct. 29 The Importance of Being Earnest

April 18-Oct. 28 Intimate Apparel

Jul. 26-Oct. 28 Dr. Jekyll and Mr. Hyde

At the New Theatre:

Feb. 23-June 23 UP

March 29-Oct. 29 Bus Stop

July 4-Oct. 29 King John

At the Elizabethan Stage:

June 6-Oct. 6 The Merry Wives of Windsor

June 7-Oct. 7 Cyrano de Bergerac

June 8-Oct. 8 The Two Gentlemen of Verona














OSU Theatre, Corvallis

737-2853 • oregonstate.edu/dept/theatre

Performances at Withycombe Lab and Main Stage Theatres

Jan. 25-29 Woyzek

Feb. 9-18 Antigone

April 27-30 Opera Workshop/One-Act American Operas

May 11-20 Silent Woman

June 7-10 Student One-Act Festival






University Theatre

darkwing.uoregon.edu/~theatre/ • Tickets: 346-4363

Performances at the Robinson Theatre

March 3-18 After Mrs. Rochester

May 19-June 3 A Midsummer Night's Dream

Performances at the Arena Theatre

Feb. 8-18 The Night Thoreau Spent in Jail

April 26-May 6 The Baltimore Waltz






Upstart Crow Studios

688-7103

Performances at Willamette Powers Auditorium

Feb. 3-5 Snow White


Very Little Theatre

344-7751 • www.thevlt.com

Jan. 20-Feb. 11
Amadeus


March 3-12 Waiting for Godot

March 24-April 8 Woman in Mind

June 2-24 The Visit

August 4-26 Picasso at the Lapin Agile




Willamette Repertory Theatre

343-9903 • willrep.ourwest.com • Tickets: 682-5000

Performances at the Hult Center

Jan. 25-Feb. 12 Cyrano

March 29-April 16 All in the Timing

May 19-21 Readings in Rep