WSO sends valentine
by Christopher Key

Valentine’s Day, a sunny afternoon and a Whatcom Symphony Orchestra concert. It doesn’t get much better than that. As Maestro Roger Briggs noted, there was a certain family feeling about the whole thing. Samuel Adler, who wrote the latest work in the American Composers series, studied with the legendary Aaron Copland. Christopher Theofanadis, who composed the bassoon concerto performed by guest artist Martin Kuuskman, studied with Adler.

Adler’s work, All Nature Plays led off the concert. The composer himself was in attendance and described what inspired the work. Apparently, he was sitting on his back deck when a rabbit leaped out of the woods and proceeded to roll around on his back, kicking his feet in the air. A hare-raising experience, no doubt. The playfulness of the rabbit and the accompanying bird songs provided the necessary inspiration.

It’s a difficult piece for the orchestra, with the various sections tossing musical phrases back and forth in a playful manner. The WSO brought it off with aplomb and elicited some appreciative chuckles from the audience at one particularly witty part. A tip of the hat to the percussionists who had a rather busy time of it.

Franz Schubert provided the second piece on the program with his Symphony No. 5 in B-flat Major. It’s a lovely and rather subdued work that was unfortunately spoiled for some by two unbelievably rude people who talked nonstop through the performance. I was sitting near the back and it turned out that the yakkers were the Mount Baker Theatre technicians. They, of all people, should bloody well know better. I had a chat with an usher during intermission and peace reigned for the rest of the concert. Lovely work by the orchestra despite my being somewhat distracted.

Bassoonist Martin Kuuskman is a genuine superstar who was born in Estonia, but now makes his home here in Whatcom County. He’s had many works composed specifically for him and it’s easy to understand why. His virtuosity is stunning and his lungs must be the size of the Goodyear blimp, despite his slender frame. Christopher Theofandis dedicated his Concerto for Bassoon and Chamber Orchestra to Kuuskmann and it’s hard to imagine anyone else even attempting it. The audience was on its feet at the end and Kuuskman obliged everyone with a brief encore.

Maestro Briggs and the orchestra put an exclamation point at the end of the concert with Aaron Copland’s beloved Appalachian Spring. What better way to leave a concert that with “Simple Gifts” embedded in your internal soundtrack? Props to the woodwinds and pianist Andrea Rackl. Impresario extraordinaire Jack Frymire said after the program, “That’s the cleanest I’ve ever heard them play.” I couldn’t have said it better and won’t even try.

Next on the WSO calendar is a March 14 concert featuring Gustav Holst’s The Planets and Edvard Grieg’s immortal Piano Concerto. See www.whatcomsymphony.com for more details and call the MBT box office at (360) 734-6080 to reserve your tickets.

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Auditions for Jim Lortz’ show “Once Upon a Mattress” at BAAY!

Revered director from Western Washington University Jim Lortz is set to direct “Once Upon a Mattress” at the Bellingham Arts Academy for Youth. Students ages 10 to 13 years old are invited to audition for Sat., Feb. 13th from 10 am to 12:30 pm at the BAAY studios, 1059 N. State St. Students will sing, dance and act, and need to be there for the full audition time. Callbacks will be held Sun. Feb. 14th from 12 to 2 pm. For more information, please call 306-1543 or click www.baay.org. Instructional fee applies if cast.

Auditions for Little Shop of Horrors at BAAY

Students ages 13 to 15 years old are invited to audition Little Shop of Horrors at Bellingham Arts Academy for Youth, directed by David Post on Sat., Feb. 20th from 10 am to 12:30 pm at 1059 N. State St. Students will sing, dance and act, and need to be there for the full audition time. Callbacks will be held Sun. Feb. 21st from 12 to 2 pm. For more information, please call 306-1543 or click www.baay.org. Instructional fee applies if cast. Lisa Markowitz is the dynamic choreographer of this unforgettable show.

Agatha Christie’s “Mousetrap” performing at BAAY Rep!

Audiences are invited to test their wits in the stunning Agatha Christie whodunnit “The Mousetrap”, performed by the actors of BAAY Repertory Theatre. Shows are at the BAAY Theatre, 1059 N. State St., and run March 19, 20, 26 and 27 at 7 pm with Sunday matinees at 2 pm on March 21 and 28. All seats are $10 and tickets may be purchased at www.brownpapertickets.com.

MBT show lovingly skewers musicals
by Christopher Key

This is a great time of year for theatre buffs in Bellingham. After the holiday break, it seems like most of the companies in the area have shows going up in February and part of the challenge is trying to see them all. Especially if you happen to be in one of them. Because of that, I had to review a tech rehearsal of Musical of Musicals opening Wednesday at Mount Baker Theatre’s wonderful smaller space. I’ve sung the praises of the Walton Theatre before and this is another production that should make us all thankful for the venue.

I’ve also sung the praises of Mark Kuntz’s Summer Rep program from the very beginning and it’s gratifying to see it expand its reach. Reviewing a tech rehearsal is like being in the delivery room when someone is giving birth. It can be rather excruciating at times, but there is no better way to witness the miracle of birth.

The midwives in this process are the director, the stage manager and the lighting/sound technicians. Techies are perfectionists by nature and this can often try the patience of actors because it’s not all about them. Kuntz has a knack for recruiting top onstage talent and this group of actors showed me that they are true professionals by keeping the energy high and the egotism low. More about them in a moment.

Watching Kuntz at work is also a treat because he manages to be very low-key and yet extremely meticulous. This is why his productions have the snap and polish that keeps audiences coming back for more.

In this case, the more is a show that will delight even those who are somewhat jaded by that uniquely American art form known as The Musical. Musical of Musicals is a thoroughly delightful send-up of all those shows that have defined the genre over the years. Eric Rockwell wrote the music that slyly quotes from nearly every show you have ever seen without actually committing outright theft. Joanne Bogart’s lyrics are wickedly funny without mortally wounding anyone.

The plot involves someone who can’t pay the rent. Rockwell and Bogart then interpret that through five acts invoking the styles of Rodgers and Hammerstein, Stephen Sondheim, Jerry Herman, Andrew Lloyd Webber, and Kandler and Ebb. Along the way, they manage to call on every musical cliché you have ever seen and some you haven’t. The result is a devastatingly funny and obviously loving tribute.

My granddaughter tells me that when I carry on at length about the structure of the show and the technical aspects, it means I was trying to be diplomatic and not come right out and say I hated it. Let this be a lesson to her and to you. I love this show and hope I can see the finished product.

The cast of Musical of Musicals at the MBT's Walton Theatre delivers a performance that will leave fans of the genre gasping with laughter and delight. - Photo credit: Sandi Heinrich

Now, about those actors. Obviously, I didn’t get to see them strut their stuff under optimal circumstances. What I did see was a very cohesive ensemble cast that portrays archetypal musical characters with exceptional energy and sensational style. Their acting chops are impeccable and their voices are better than many of the actors who played in the originals. In no particular order, they are Joshua Quesada, Deanna Davis, Danny Kam and Molly Corcoran. Their accompanist and narrator of the show is Michael Nutting, a gifted pianist who kept us all entertained at tech rehearsal by playing musical vignettes ranging from the Beatles to Berlioz during the dead spots.

Musical of Musicals plays in the Walton Theatre February 10 – 28. Evening curtain times are at 7:30 and matinees at 3:00. See the Mount Baker Theatre Web site at www.mountbakertheatre.com for precise dates and times. Tickets are $20 for adults, $10 for students with ID and can be purchased online or by calling the MBT box office (360) 734-6080.

Winter Rep lives up to the rep of Summer Rep.

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A fixture in the Bellingham arts community for 13 years, Morrison Glass Art is moving to a new studio. All of the art at the studio at 122 Ohio Street must be sold.
Please come and purchase art February 27th 10am-4:30pm. Celebrate the art and history of Morrison Glass Art. The event is family friendly and free.

Christopher Morrison created the glass sculpture that hangs in Village Books. His professional affiliations include Vice Chairperson of the Bellingham Arts Commission and a member of the Whatcom Museum Board. In March of 2005, he was honored to be the recipient of the Mayor’s Arts Award, which recognized him as an outstanding individual artist in Bellingham, Washington.

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If you are looking for a fun way to help the Red Cross with their relief efforts in Haiti or an excuse to eat out on Saturday night, come to the Grand Opening at the New Slo Pitch Sports Grill on Saturday the 30th. All of the proceeds from the restaurant will go to the Haiti relief efforts through the American Red Cross. So, if you spend $20 on a meal, they will donate the whole amount to the Red Cross. Please invite all of our friends to take part and give a little to help make the world a better place. They also have numerous prizes and cash giveaways throughout the day.

Ensemble cast rocks
by Christopher Key

There is nothing that quite compares to the magic that happens onstage when a group of immensely talented actors comes together and performs as an ensemble rather than individuals. That is what goes down at the Bellingham Theatre Guild’s production of Alan Ayckbourn’s Taking Steps. And it goes down like Black Velvet.

Evoking that kind of performance from actors requires a sure hand at the directorial helm and BTG veteran Dennis Cattrell has what it takes. He also has an affinity for Ayckbourn’s brand of British farce. Remember, if you will, the wickedly funny Revolving Doors from a couple years ago.

Cattrell’s genius is nowhere more evident in his casting choices. With two old pros like Robert Muzzy and Leon Charbonneau, there is enough ham to keep Hormel in business for another century or two. When playing farce, ham is the perfect entrée and the other cast members are more than strong enough to give the veterans a serious run for their money.

Muzzy is a shadow of his former self, having apparently sworn off pork chops since I saw him last onstage. Fortunately, he hasn’t lost any of his acting chops and those who have delighted in his many performances over the years won’t be even slightly disappointed. In fact, the weight loss seems to have added a good bit of energy to his performance.

There are few actors whose versatility can match that of Charbonneau. In the past few years he has played everybody from Malvolio to Mark Twain and done it with a style and professionalism that make him one of the leading luminaries on the local theatrical scene. It couldn’t happen to a nicer guy.

Just because I gave those two hambones the lead paragraphs doesn’t mean that the other actors don’t deserve equal space. The delightful Jen McQuaide is utterly charming as Charbonneau’s sister. Since I forced her to wear a fat suit in The Boys from Syracuse, it’s important to note that she’s incredibly svelte and sexy in this show. Her comic gifts are prodigious and her portrayal is dead-on.

Jen McQuaide and Leon Charbonneau star in Taking Steps at the Bellingham Theatre Guild. Photo credit - David Cohn

Ben Stahl is a newcomer to the BTG stage and let’s hope we see a lot more of him. He portrays a veddy British solicitor with a demented Pythonesque energy that is a joy to behold. It is a timely reminder that being compared to someone named Palin is not always pejorative. He’s a theatre major at Western and only adds luster to that program.

J. D. Merris is perhaps better known for his directorial efforts at BTG, but he really should get out in front of the lights more often. His acting is perfectly understated and that’s not easy to do in a farce. He also looks pretty damn good in motorcycle leathers for an old man. I’m obviously envious.

It’s not easy to be a vital part of an ensemble when you spend much of the play being locked up in a closet, but Jessica Martin is more than up to the task. BTG audiences may remember her from Lend Me a Tenor, and she makes the most of her unfortunately brief stage time. You have to admire any actor who can bring that kind of patience to a relatively thankless role.

As I have mentioned before, I hold the BTG to pretty high standards and there are a couple of weak spots in this production. The first act is too long and that is a problem with the script. If Shakespeare can be whacked for excessive exposition, so can Ayckbourn. Some judicious editing could knock about 15 minutes off the show and that would be a good thing. There were a lot of theatre people in the audience and many of them were yawning when it dragged a bit.

What can I say about the ending? It was peculiar, to say the least. I am trying to be diplomatic here. Ah, well. Minor quibbles, at best. Taking Steps is a marvelous farce and not to be missed. God knows, we could use some laughs right now.

Taking Steps performs at the Bellingham Theatre Guild January 22 – February 7. Thursday – Saturday performances at 8:00 p.m. and Sunday matinees at 2:00 p.m. Tickets are $11 for adults, $9 for seniors (over 62) and students, $7 for children. Reservations are highly recommended and can be made by calling the box office at 733-1811. For more information, see www.bellinghamtheatreguild.com.

The Bellingham Theatre Guild offers more entertainment bang for the buck than almost anybody. What higher compliment can be paid in these parlous times?

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Soprano sensation soars
by Christopher Key

There are a number of reasons why many of us get humbugged by Christmas music at this time of year. First, it seems to start sometime in September and by the time the holidays arrive, it’s wearing thin. Second, those insipid elevator arrangements are enough to drive Santa Claus up the wall. Third, it’s because we don’t get to hear Lynden’s Katie Van Kooten sing them. Her astonishing voice would bring new life to the most annoying commercial jingle and make you want to shout, “Bravo!” I don’t use exclamation points lightly.

Van Kooten enthralled an audience with carols familiar and unfamiliar at Western Washington University’s Performing Arts Center this evening. It was a fundraiser for the Bellingham Festival of Music and it was nothing short of thrilling. Van Kooten’s voice has been compared to that of Kiri Te Kanawa and it’s not even remotely hyperbolic. There is a richness of tone that is normally associated with contraltos, but Van Kooten maintains it even when soaring in the soprano stratosphere.

Photo credit: Sussie Ahlburg

She was accompanied by Brett Strader at the concert grand and Krista Strader on the harp. These musicians are definitely playing in Van Kooten’s league and were consummately professional. My only gripe was that the concert grand often overwhelmed the harp and that was a grave disservice. Krista Strader is one of the top harpists in the world and during the one number she did with Van Kooten without the piano, her playing was nothing less than angelic. That is in no way meant to be a criticism of her hubby’s prodigious talents as an arranger and accompanist. The harp should have been miked.

Speaking of angelic, Van Kooten was backed on several numbers by the Celestial Voices, a group of eight- to ten-year- old young ladies who are part of the music program at Bellingham Arts Academy for Youth. If they were nervous about sharing the stage with a performer of Van Kooten’s status, it didn’t show. However, I am willing to bet that not one of them will ever forget it. Their professionalism is a tribute to BAAY impresario David Post, who conducted them. I hope no one will ever take for granted the miracles that Post accomplishes with his young charges.

Van Kooten performed many holiday favorites with the grace and warmth that have made her an international star. Toward the end of the concert, she also demonstrated that she is equally at home in the jazz idiom. Her take on “The Christmas Song,” and “White Christmas” must have made Tormé and Berlin very proud.

I recently performed “I’ll Be Home for Christmas” in a program of Christmas songs and stories and am seriously contemplating retirement after hearing Van Kooten’s version. It is very humbling to hear a true superstar make that number her own. There were times during the concert when her voice made every hair on my body stand on end and I expect that my goosebumps may be permanent.

One of the few disappointments about last summer’s Bellingham Festival of Music was that Van Kooten only had a very brief solo in Brahms’ Requiem. This concert made up for that by letting us hear our homegrown diva in all her glory.

Since this was all about the Bellingham Festival of Music, it’s important to know that they’ve announced their 2010 season. You can check it out at www.bellinghamfestival.org and you’d better get your tickets now. The BFOM was sold out for most of last season and deservedly so.

And if you ever miss a chance to hear Katie Van Kooten, just shoot yourself.

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Northwest Ballet production soars
by Christopher Key

My companion at The Nutcracker this evening asked me how I review a performance like this, assuming that I have some knowledge of ballet. I don’t and I admitted it to her and to you. That’s why I end up talking about the backdrops and the costumes a lot. But I will make some small claim to theatrical wisdom. Ballet is just musical theatre without speaking parts, so I can usually fake my way through a review.

Frankly, Northwest Ballet deserves better. However, since I seem to be the only one writing reviews regularly, they have to settle for me and I do what I can. One of the things I have learned since starting to review ballet is that no two productions are alike. Don’t assume that because you’ve seen The Nutcracker before, you don’t need to see it again. This Northwest Ballet production is a fresh experience every year and we could all profit from a bit of fantasy at this time of year.

Artistic Director John Bishop told me that the opening backdrop is new this year and it sets the mood perfectly, portraying winter in an old English town as the dancers swirl in the snow. Bishop got to step into the spotlight this evening as The Cossack and his obvious joy in performing is thoroughly infectious.

The costumes are spectacular, as always. Beth Sanchez and Holly Bennett have obviously spent countless hours on this project and it shows. There. I’ve talked about the backdrops and costumes and have exhausted my ballet expertise. Now, let’s move on to the performers.

Guest artist for this production is Mahomi Endoh, a dancer with the Alberta Ballet. She began her training at age five with the Mami Ballet in Kyoto, Japan, and joined the Alberta School of Ballet in 2006. She is totally enchanting and obviously has a stellar future ahead of her. The only photo of her that I could access on very short notice comes from her Facebook page and conveys her charm the way no professional photo could. I hope she doesn’t mind that I stole it.

Playing the title role is Meridian High School senior Seth Weatherby. I have now seen him in several productions and am blown away by his athleticism and stage presence. His talent is prodigious, evidenced by his ability to pair with a professional like Endoh and look completely at home. This young dancer began training with Bishop in 2005, but he comes off as a seasoned veteran. Bravo!

There are far too many people in the cast to mention in this space, but they are all amazingly talented and deserve full houses at every performance. Theatrical Renaissance Man Angus McLane repeats his role as Herr Drosselmeyer and is always a treat to watch. The young dancers are especially enchanting and lend credence to the old W. C. Fields saw about never sharing the stage with a child. They steal the show every time.

I never cease to be amazed by the level of talent we are blessed with in this fourth corner of the nation and Northwest Ballet is one of the main reasons.

The Nutcracker performs Friday and Saturday, 7:30 p.m., at the Mount Baker Theatre with a matinee on Sunday at 2:00 p.m.. Call (360) 734-6080 for tickets or go to www.mountbakertheatre.com. Your holiday season won’t be complete without it.

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Cole weather at BAAY
by Christopher Key

If there is anything that can drive Christmas music out of your head for a while, it’s Cole Porter songs. Anything Goes is perhaps the quintessential Porter musical and it’s quite a challenge for actors of any age. Bellingham Arts Academy for Youth has no fear when it comes to such challenges and their production of this classic will have you humming something other than White Christmas for at least a day or two.

You absolutely must see a stunning performance by Abrah Friberg as Reno Sweeney. Her astonishing voice and luminous stage presence make it very difficult to believe that she’s a teenager. I’ve seen professional performers who don’t own the stage the way she does. There are some very solid BAAY veterans backing her up, but just try to take your eyes and ears off her when she’s onstage.

Abrah Friberg stars in Anything Goes at the BAAY Actors Studio.

That said, Jack Eiford gives her a run for her money as Moonface Martin, a gangster anxious to move up on the Most Wanted list. He’s got a streak of ham as wide as West Virginia and that’s a high compliment in my book. Brad Anderson, who gave a star turn as Curly in Oklahoma!, proves that his performance was no fluke. As Sir Evelyn Oakleigh, he delivers a very authentic Brit accent and a definitive version of the Upper-Class Twit.

The character of Billy Crocker is extraordinarily demanding, with constant costume and accent changes. Zoe Schackel comes through like a champ. Ellen Clark is all dewy innocence as Hope Harcourt and has a very sweet singing voice. As Bonnie, Maegan Covell charmingly channels Betty Boop.

Mrs. Evangeline Harcourt, Hope’s mother, is a formidable British matron and Melanie Cahill made the part her own. Saila Bonk is completely convincing as the American tycoon Elisha J. Whitney.

BAAY always tries to get as many actors onstage as possible and there is a second cast that will be performing next weekend. I recognize a lot of the actors in that cast and expect it will be as solid as this weekend’s performers.

There is a true hero in a smaller role that I want to recognize. You may not even have a clue that Rachel Snodgrass as the ship’s captain has a minor speech impediment. It may be politically incorrect for me to have noticed this, but I want to salute her for her courage. Theatre is often a means of curing stuttering and I’m betting that Rachel will be an award-winning orator before long.

There are a lot of talented kids who play smaller roles and that is nowhere more evident than during the big production numbers where the chorus sounds like Broadway professionals. That, of course, is due to the influence of Musical Director Extraordinare Steve Barnes.

Mary Evans is to dancing as Bill Gates is to computers. She has worked wonders with her young students and the choreography will amaze you. The intricate set was designed by Bill Eiford and that leads me to my only gripe. The complexity of the set changes resulted in delays that were very distracting. I trust that things will go more smoothly once those problems have been addressed. It will also cut about 15 minutes off the run time.

David Post, the mad genius who created BAAY, directs the show and the fact that I saved him for last is no reflection on his skills. What he has done is nothing short of astounding and he needs to be recognized for the community treasure that he is.

Anything Goes plays at the BAAY Actors Studio, 1059 North State Street, on December 11, 12, 18 and 19 at 7:00 p.m. Matinees are at 2:00 p.m. on December 12, 13, 19 and 20. Tickets are $10 and can be reserved at www.brownpapertickets.com.

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WSO flourishes surprises
by Kathryn Murray

The Whatcom Symphony Orchestra’s Holiday Treasures concert at the Mount Baker Theatre Sunday, December 6th, surely brought surprises as promised. Members of Western Washington University’s Concert Choir, directed by Leslie Guelker-Cone, slowly promenaded down the aisles with illuminated candles to a stirring rendition of The Boar’s Head Carol in Latin and English.

Artistic Director Roger Briggs conducted the orchestra in two dreamy Ralph Vaughn Williams selections, Wassail Song and a Fantasia on Greensleeves arranged by Greaves. All donning Santa hats, Jacob Scherr, guest conductor, and the symphony skillfully performed three popular traditional Christmas tunes: Have Yourself a Merry Little Christmas, The Christmas Song and White Christmas, which enthralled the packed theatre and set some to humming. The lighting design on stage and in the house added another dimension to the holiday concert. Beautiful reds, greens and blues lit the musicians and audience fairly undulated with the beat under Scherr’s direction.

A delightful dance interlude from Northwest Ballet with company members Amber Johnson, Jordan Assink and Marley Keel was one of the surprises of the concert. Splendidly choreographed selections from Tchaikovsky’s Nutcracker Suite fully captured the essence and mood of his dances. One wonders how they had enough room to dance on stage alongside 75 orchestra members and 43 choir members.

Conrad Susa’s A Christmas Garland conducted by Guelker-Cone and performed beautifully by the WWU Concert Choir and the Whatcom Symphony orchestra added a fresh sound to a potpourri of traditional Christmas songs. The new arrangements and intricate rhythms (particularly We Three Kings in 7/8) by Susa are challenging, but the musicians pulled it off magnificently. This work featured not only the choir and orchestra, but the audience had a part as well. Scripted lyrics in the program allowed the audience to sing along with the musicians. A rousing Joy to the World rounded out the first half of the concert.

Photo courtesy Whatcom Symphony Orchestra.

Opening the second half of the concert, Maestro Briggs conducted the WSO in Dona Nobis Pacem, another Ralph Vaughn Williams selection. The Cantata featured talented soloists, soprano Annie Kruger, baritone James Reynolds, and baritone Colin Ward. Although the piece was stirring, moving and beautiful, and the musicians and singers were exceptional, the audience may have been expecting lighter entertainment at this holiday season. Listening to the work brought on tears to some and may have prompted others to go out and purchase a recording as it was so magnificently performed. However, in light of what’s happening in the world, it wasn’t a piece that would brighten the holiday season nor could one go home humming. Reading up on the work, reviewers describe the piece as Vaughn Williams’ “optimistic plea for peace.” So in support of Briggs choice, that plea is certainly something we could covet this holiday season. The WSO and vocalists are to be applauded for their exceptional performance of this Vaughn Williams work.

Lo, How a Rose serenely performed by a WSO quartet was a beautiful segué as the WWU Concert Choir with candles surrounded the audience. As Guelker-Cone directed from the back, the choir sang a beautiful arrangement of Silent Night sung in German and English, ending the concert with an emotional and moving tribute to the Holiday Treasures.

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