Daily Archives: March 5, 2020

MANSFIELD We will, we will, rock you at the Renaissance Theatre this weekend.

And by "we," I am, of course referring to the 20-person cast of "Rock of Ages," Broadways biggest celebration of the music of the 80s. The show stages March 7, 8, 14 and 15.

Directed by Michael Thomas with music direction by Kelley Knowlton, "Rock of Ages" tells the story of one of the Sunset Strips last epic venues, a place where the legendary "Stacee Jaxx" returns to the stage and rock-n-roll dreamers line up to turn their fantasies into reality.

"It's what's called a jukebox musical, it takes a bunch of music from a certain era and writes a story around it," said Scott Smith, who plays Stacee Jaxx. "This particular show is centered around the era of hair metal, debauchery, hedonism, drugs - you know, all the stuff that makes life worth living."

The way Smith tells it, "Rock of Ages" is a typical boy-meets-girl story. In 1987, an aspiring rocker named Drew Boley works as a busboy in the Hollywood bar/club called the Bourbon Room, owned by Dennis Dupree and assisted by Lonny.

He falls instantly for a girl, Sherrie Christian, who just arrived from Kansas hoping to make it big.

"Meanwhile, Stacee Jaxx is just a tool," Smith said. "He has tasted success as a rock star, but he's past his prime trying to hold on to it as hard as he can. He's manipulative and drunk and just totally self-obsessed."

Playing Lonny is AaronWiessing, a newcomer to the Renaissance stage. Serving as the narrator, Lonny frequently breaks the "fourth wall" to address the audience directly.

"A lot of these songs don't quite mesh together very well to make a story, so Lonny is there to fill in that gap," Wiessing said.

Lonny also plays right-hand-man to Dennis Dupree, played by Colton Penwell.

"He's a stoner intellect kind of guy," Penwell said of his character. "His claim to fame was a power rock trio back in the day, but he thinks he's this rockstar."

Additional cast members for "Rock of Ages" include Ryan Shreve, Matti-Lynn Chrisman, Maddie Penwell, Leiah Lewis, Joe Ball, Beau Roberts, George Swarn, Jake Riley, Jenna Krivosh, Emily Rose Bare, Katie Harrigan, Jessica Miller, Bryce Dials, Nykera Gardner, Hope York, Chantel Ross, and Ross Pruettmiller.

The production of Rock of Ages will also include live music by the band "The RENegades" featuring Kelly Knowlton, Zachary Chrisman, David Baer, Christopher Thompson, and Matt Chrisman.

The band helps bring to life songs from Styx, Journey, Bon Jovi, Pat Benatar, Twisted Sister, Steve Perry, Poison and Europe, among other well-known rock bands.

"The songs are difficult to sing well because they're all so high - that was the thing about the music, you had to be able to sing up there, and it's very difficult to do that, especially when I'm a baritone," Smith said. "But I grew up with this music, it's so much fun to sing."

Tickets for "Rock of Ages" start at $15 and are on sale now at RenTickets.org, at the Renaissance Box Office or via phone at (419) 522-2726.

"It's a two-for-one, you get a kick-ass, hilarious musical but it's like coming to a rock concert, too," Penwell said. "You're going to be singing along."

This story is brought to you in part by the Renaissance Theatre. For more information on upcoming shows, visit http://www.rentickets.org.

If you've ever experienced the joy of creativity and culture, then you know the value of the arts. Your support of our reporting enhances that. Become a Source member today.

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'Rock of Ages' brings the 80s back to the Renaissance - Richland Source

RaulstonNembhard

Wednesday, March 04, 2020

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Ash Wednesday and the beginning of the Lenten period has dawned this year within the context of one of the most dreaded epidemics (or pandemics) that has confronted the world in recent times. The novel coronavirus (COVID-19) is not only infecting and killing people, but poses an existential threat to a globalised world economy that has begun to experience fallouts from its effects.

In the space of one week alone, trillions of dollars have been shaved from global gross domestic product (GDP). Stock markets have experienced precipitous declines, and there is every indication that this will continue, and even get worse, as the virus infects and kills more people around the world.

The worst things that can be done with any infection of this magnitude is to politicise it. Yet this is what some countries, noticeably the United States, seems to be doing with its own response to the crisis. Its president, Donald Trump; members of his Administration, and other Republicans have been seeing this as a political hoax intended to bring down the presidency; an act, in their view, no less egregious than the recent impeachment of him in the House of Representatives. It is clear that this is not true.

The nature and spread of the virus bears its own integrity outside of what human beings may think or devise. Therefore, any orchestrated attempt to tamp down the severity of its threat, not to be transparent and truthful about it or to demonstrate incompetence for purely political outcomes, will not change the trajectory of the virus. These things will, in fact, make things worse.

As I pondered Lent and the threat of this virus, I considered how humble we ought to be in the face of things we cannot see and control. Yes, we have had worse epidemics in the history of the world. This present threat too will pass. And, others in the future will arise. My hope is that we will be more prepared to confront them. But I cannot help but wonder silently at how one virus or strain of a virus could cause such perplexity and anxiety around the world; how a microscopic agent could cause such serious disruptions to our lives by its dislocation of the global economy. This could, in the end, bring economic powerhouses crashing into the dust.

My mind went to how fragile life is and how much we take things for granted until personal or collective crises roll around. It is then that we realise how powerless we can be against insignificant forces that might present an existential threat to our well-being. So, while we may strut in arrogance on the corridors of power, and believe in our invincibility because of the size of our bank accounts, we get reminded, as Jesus did the devil, that man cannot live by bread alone. That loyalty to the material things around is not sufficient to guarantee a life of peace and happiness. That there are far more enduring virtues to which we have to subscribe if life is to be enjoyed to its fullest, whatever that is.

In this Lenten season we are once again reminded of the fragility of life. That, indeed, we are but dust and to dust we shall return; that in Isaiah's rather gloomy assessment of the human condition, all flesh is grass which grows up and fades (Isaiah 40:6). Or, as the psalmist opines in an equally gloomy rendition, we are like new grass that grows up in the morning but is dried and withered by evening (Psalm 90:5-6).

This should encourage the discerning introspection and self-examination which is what Lent is really about. It is confronting life at a point at which we are afraid to look at the besetting sins that haunt us and the devastating habits that we indulge that we know we should really part company with. It is reassessing our significant relationships, especially our relationship with God.

It is a time when we realise that we are not sufficient to ourselves, but we dwell on a planet with other people to whom, too, we should be accountable. We are a society given to rampant hedonism and materialism at all costs, and often we trespass on the sacred spaces of other people, which is part of the violence that the society is experiencing.

So, there is a lot to consider this Lent. I will not encourage you to give up anything, but I urge you to take a second and more serious look at your life. Maybe there is something that you may just want to change; a habit that you know you really need to come to terms with; a family member whom you really need to make a phone call to and bury the hatchet of a too-prolonged animosity. Whatever it is, I do wish you a holy and peaceful Lenten season.

Dr Raulston Nembhard is a priest and social commentator. Send comments to the Observer or stead6655@aol.com.

Now you can read the Jamaica Observer ePaper anytime, anywhere. The Jamaica Observer ePaper is available to you at home or at work, and is the same edition as the printed copy available at http://bit.ly/epaperlive

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Of Lenten spirituality and the coronavirus - Jamaica Observer

The university experience can be an inspiring time for a lot of artists. The new friends, the new home, the unbridled hedonism, all contribute to a breeding ground of creativity. This has certainly been true for Oliver Hardingham, perhaps best known by his stage name Twin Complex. The track 242, named after his room in first-year halls, saw Twin Complex reminisce on the memories created in this time through the medium of euphoric ambient beats.

Twin Complexs first album, Permanence, was released in 2018. It focussed on creating songs that begin from a point of minimalism, and build into something complex and swirling with each new instrumental addition. The album flickers between techno beats and ambience. Perhaps what Twin Complex does best is create a body of work that offers something new on every listen. But it doesnt stop there, and Hardingham is excited by the idea of creating something even better with his impending release The Distance Between Us All. In this new work, he seeks to explore the human condition in all its idiosyncrasies: the spaces we occupy, the things we share and hide, the underlying melancholy that affects us all.

Hardinghams teenage years spent performing in hardcore bands piqued his interest in music from a young age and gave him a dedication to his craft which is unmistakable in Twin Complexs sound today. Moving to Manchester, and becoming part of its unmatched music scene furthered this sound. Hardingham cites the unique culture of Manchester and its music scene as a key inspiration to further pursue his art, and explore the myriad avenues he could take Twin Complex down.

Photo credit: Theodore Swaddling

Being part of Manchester has had a palpable effect on Twin Complexs sound. A moment of inspiration came from a night sat overlooking the city from a tower block. Hardingham observed the inner citys movements, surrounded by the quiet of distant hills. The mix of city lifes heady bustle and the calm of the surrounding area inspired Twin Complex to combine urban, techno dance music with swirling, atmospheric, epic soundscapes. Juxtapositions like this are the heart of his tracks. Best enjoyed in the early hours of the morning, Twin Complexs music is a must listen to for anyone looking for the best in rising Manchester DJs.

See Twin Complex perform at Art in Mancunia on March 26th.

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Art in Mancunia: Twin Complex - The Mancunion

Bjarke Ingels is a movie star of the architecture world, but he is also an artist and a trailblazing source of inspiration that goes beyond the structures he builds. A decade ago he started spreading the word on his philosophy of sustainable hedonism which bridges the gap between environmentalism and luxury they can coexist and Ingels showcases that in his work. What sets him apart is that everything he creates has drawn inspirations from ideas, things, art and even games that are totally unrelated to what he is building but still shines through subtly. The latest example to prove this point is the Voxel sofa for a Danish brand, Common Seating, which is a harmony of elements from Minecraft (which Ingels loves!), Q*bert video games as well as the work of Modernist architect Mies van der Rohe.

The Voxel sofa is, in the simplest words, made to adapt to the environment and the users needs. Bjarke Ingels firm, BIG, looked into how they design their architectural projects like their Lego House, 79 & Park apartment block and the 2016 Serpentine Gallery Pavilion when creating the modular sofa system. The team made a grid of pixel-like blocks to form the seats and called it Voxel. The name and aesthetic of the sofa come from the words actual meaning which is a graphic and interface design term for 3D pixel. Voxel will look and mean something unique to every individual user and space.

Voxel can be moved, repaired, flipped, added on to or reduced with ease based on its surroundings. It represents the future of modern furniture pieces designed to serve the user with multiple functionalities with a form that fits in every room. The sofa system is built with four major parts armrests, backrests, seats, and legs, and all of these can be interchanged and assembled in multiple ways. The pieces connect with simple metal cylinders that slide into holes and give it its modular essence. The grid-like system creates a family of units that can be configured into multiple seating scenarios, from single-unit couch to large configurations, says Jakob Lange, partner at BIG. With the rapid evolution of our culture and lifestyle, Voxel has the ability to mold itself organically to any ecosystem.

The sofas design reduces waste by encouraging owners to exchange or repair separate parts if needed, instead of throwing the entire piece out. Voxel is made on-demand and shipped directly from the workshop to ensure it only produces what is necessary and manages waste responsibly. Voxel promotes Bjarke Ingels idea of flexibility and sustainable living in its own didactic message of being able to modify and adapt to where we are in the moment with our core values intact. Lang goes on to say, If it were a person, [it] would be able to move, flex and adapt to different configurations, making it agile in any environment at home or at work and responsive to any individual. The person can really grow and live with this sofa long-term.

Ingels has always viewed architecture as the art and science of making things that fit the way we want to live our lives, it is a constant evolution of ideas. Ill leave you with this thought inspired by Bjarke Ingels sustainability is not a moral sacrifice but a design challenge and we have the tools to design ecosystems that optimize the flow of people, resources, economies evenso why not give back with the power to create?

Designer: BIG Group

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Architecture legend, Bjarke Ingels, 'pivots' their couch towards the future of flexible living - Yanko Design

Re: Issue 278, The Sex Issue

Actually, this letter isnt regarding that issue so much as its pivoting to a topic of far less acceptance and agility.

Backtrack with me through time for just a minute:

It was a blustery Sunday last spring. I was jostling my book bag up 2nd Street SE in Cedar Rapids when I heard a crescendo of homogeneity cascade out the doors of Veritas Church. Id bustled past the Veritas building before, and if not for the signage, I would have guessed it was some sort of Silicon Valley knockoff tech firm. Dash Coffee even has a pop-up shop inside!

Are you familiar with Veritas Church? Veritas, full of fresh-faced, wholesome minions imbued with the tinge of hipsterism that screams false inclusiveness. I think they even have a few self-described poets, scribes and artists among their ranks. Veritas, that nebulous congregation with a sheen of 21st-century progressiveness covering some rather dark views on redemption, sexual orientation and identity. Take, for instance, these excerpts from the recesses of their website:

As a result of sin, we deserve condemnation.

We believe in the resurrection of the body, the final judgment, the eternal felicity of believers who are redeemed by the grace of Jesus Christ and the endless suffering of those who deny His authority.

Those lines aroused my suspicions, so I scoured the internet and caught a whiff of this doozy from this online sermon from the esteemed (perhaps just steamed) Dr. Alex Tuckness at the Iowa City location:

Ive seen people use arguments where they observe homosexual sexual acts being committed by animals, and they say, Look! That proves its natural. So, if its natural, its natural for us to do it, too. And if its natural, its good. But thats taking our fallen nature rather than our original nature that God gave us and making that the norm. All of us have desires that are wrong.

My God, indeed! Now, that excerpt was tucked between lines about patience, but I only made it through about a third of that sermon before I felt my asshole puckering in preparation for the coming of the Final Judgement.

Im admittedly a lapsed Catholic with a bit of a party girl past so I understand the fervor of guilt and I suppose the time comes for all of us when we must square our affiliations with our convictions, but bless the Catholic church for at least being up front about it! Veritas is luring me in with buttery acceptance and artisanal lattes before bringing the hatchet down!

Give me the wolf over the fox any day!

Ill have to take a pass on both the coffee and the condemnation. But for those in need of a lil spiritual dirtying, Ill be leading a nightly non-denominational service of miscreants beneath the 12th Avenue bridge. We dont have a French press, but we do pass the Juarez bottle with wanton abandon.

Yours in Hedonism,Gwendolyn Sterling

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Letter to the editor: Coffee with a side of condemnation - Little Village

Dior AW20/ Charlotte Casiraghi at Paris Fashion Week AW20

Getty Images

Originally hailing from India, the bandana was used as a practical way to keep hair from the face in the heat, now it has metamorphosed into a style icon in its own right. Having seen many fashion reincarnations throughout the years, from flappers to fashionistas, its back on trend once again thanks to the likes of Dior and Charlotte Casiraghi.

Flapper Girl Josephine Baker, circa 1920

Shutterstock

In the roaring twenties it was all about Hollywood, high society and hedonism. Raucous parties were filled with flapper girls and silver screen sirens who tied printed silk scarves around their heads and danced the night away. Whether it was worn to the side or tucked into a turban style, the headscarf became a status symbol of glamour.

WWII Poster, 1943

Time Life Pictures / National Archives / The LIFE Picture Collection via Getty Images

It went back to its practical roots in the forties, with one of the most iconic images of WWII being Rosie the Riveter in the We Can Do It poster, who tied up her hair with a polka dot scarf in a bid to boost female worker morale. The image went on to become an emblem of feminism, and a hairstyle commonly referenced in pop culture.

Jackie Kennedy / Audrey Hepburn

Alain Nogues / Sygma via Getty Images, Silver Screen Collection / Getty Images

Returning to glamour in the sixties, fashions faces of the decade like Brigitte Bardot and Jackie Kennedy tied their scarves around their chins, a look often borrowed by the Queen today. It was a style so de rigueur to Audrey Hepburn she famously wore it on her wedding day to Andrea Dotti in 1969.

Diana Ross

Harry Langdon / Getty Images

Two main things ruled the heyday of seventies style; disco and hippy-luxe. Studio 54 was filled with dancing Diana Ross types with lam tied around their heads and actresses like Farah Fawcett and Natalie Wood kept it boho-chic in relaxed paisley prints.

Madonna

Michael Putland / Getty Images

The emergence of Punk, Dance-Pop and Hair Metal in the eighties made way for bold and extravagant fashion choices. Material Girl Madonna, known for her pioneering cool-girl style, popularised the bandana once again teaming it with tousled hair and tons of over-the-top jewellery.

Clueless

Moviestore Collection / Shutterstock

The Hip Hop movement paved the way for many of the street-style trends we see today and bandanas became very big with men on the rap scene at the time, like Tupac and Coolio. In a pivotal moment in 1995s cult classic Clueless, heralded for its camp interpretation of nineties style, Dionne Davenport dons a bandana in one of the most easily recognisable film stills.

Christina Aguilera / Paris Hilton

Getty Images, Michael Yarish / 20th Century Fox Tv / Kobal / Shutterstock

The A-List of the noughties counted Britney Spears, Jennifer Lopez and Gwen Stefani among its ranks. Taking its cues from both street-style subcultures and the glamour of the twenties, the headscarf maintained its status as a must-have for the style savvy from Christina Aguilera's overtly sexy Xtina persona to the Rich-Girl style of Paris Hilton in The Simple Life.

Prada / Marc Jacobs / Gucci

Alessandro Lucioni / Filippo Fior / Gorunway.com

Fashion is once again falling in the hands of the headscarf, the accessory could be spotted at some of the biggest names in the game during Fashion Month. For Gucci it was chintzy prints, Dolce & Gabbana kept it chic in black and Marc Jacobs provided full pastel colourblocking with monochromatic looks teamed with matching kerchief. However you wish to style it for the new season, we suggest you invest in one now.

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The history of the headscarf - Tatler

Welcome to the world ofMaison Ware, where deviance runs rampant amongst progressive builds, and where caliginous hedonism melds effortlessly into searing bassa wholly sinister aesthetic perpetuated by his various Japanese influences. Returning tomau5trap with new EPMind, the producer's brooding sound still sees the authority of Tokyo's towering lights and dark back alleyways of the Shibuya district present, reflected by his choice curation of sound.

"Necessity," The producer shares of what inspires the sinister aesthetic of his project. "Everybody in electronic music is so fucking brand-conscious that they've sanded down all of their rough edges in an attempt to appeal to every breathing individual with a streaming subscription No artist should be for everyone, I'm just being proactive in discouraging any "casual" fans. Maison Ware is all or nothing."

An assiduously visceral journey deep into his core being,Mindfully encapsulates its disquieting origins with fleeting traces of soothing trustinviting listeners into a dark reverie of enchantment. Titular track "Mind" is contemplative, and opens its doors to a secret unlike no other. Lined with sultry-sweet vocals that juxtapose the dark bassline with sophistication, Maison Ware illuminates a shadowy pathway with acidic twists and turns befitting of bass music. Following, "Satisfy" is tinged with brooding flairs of tech-house, utilizing another set of alluring vocals to hook us into its reverbs. Its substantial experimental nods in melding all the darker genres of music together serves to remind us yet again, Maison Ware's brilliance in capturing our attention with midtempo mastery.

In addition to his the release of Mind, Maison Ware recently scored the film Spree, which premiered at Sundance 2020. Starring Stranger Things' Joe Keery, Spree is a product of Drake's production company Forest Hill Entertainment.

StreamMind here.

Connect withMaison Ware:SoundCloud|Twitter|Instagram

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Maison Ware will take over your 'Mind' with new captivating new EP - EARMILK

Thierry Busset is celebrating Mardi Gras with a month-long promotion that pays tribute to his mother by recreating her signature recipe for the sweet dough French confection beignets.PNG

The annual Fetes des Beignets is upon us, and maitre chocolatier and chef patissier Thierry Busset is celebrating Mardi Gras with a month-long promotion that pays tribute to his mother by recreating her signature recipe for the sweet dough French confections that became a childhood favourite.

It is not too late to take in Thierry Chocolates Mardi Gras offerings that include half a dozen French beignets made la minute and served with a choice of house made chocolate, raspberry or caramel dipping sauces (until March 19).

Thierry Chocolates is located at 1059 Alberni Street, Vancouver ,and is open from 7 a.m. to 11:30 p.m. on weekdays and 8 a.m. to 11:30 p.m. on weekends.

The price of wine in the United States is at an all-time low due to an abundance of grapes, and some growers are choosing to leave grapes on the vine because it costs less than making the wine according to a new report from the Silicon Valley Bank Financial Group.

The oversupply of grapes isnt a reflection of the quality of the wine, but that the wine industry is increasingly missing the mark on consumer expectations.

Rob McMillan who wrote the report, told industry types they should be concerned. We arent engaging with the millennial consumer, and boomers who have driven wine sales for the last 30 years wont live forever.

He suggests better value wines could lead to millennials becoming more consistent wine buyers, but for now, the wine supply chain is full. McMillan thinks U.S. wine consumers will discover unprecedented retail value in 2020 through 2022 and should buy up. The lower prices may even last up to three years.

Stags Hollow Renaissance Meritage 2016, Okanagan Valley

$45 | 92/100

UPC: 626990057321

Wow, what a treat, and a further confirmation that 2016 is the best vintage we have experienced in the modern B.C. wine era. Clean, supple, and simply delicious to drink, it has the balance to go the distance but you can enjoy it now a rare combination. From dark chocolate to red and black fruits to silky tannins, its all here but in a tighter package that leans toward complexity rather than pure hedonism. It is already an excellent dinner wine that can take on most major meat dishes or a favourite cheese. It is 76 per cent Merlot, 13 per cent Cabernet Sauvignon, 11 per cent Cabernet Franc. Well done.

Col dOrcia Brunello di Montalcino 2013, Montalcino, Siena, Tuscany, Italy

$55.99 | 92/100

UPC: 8016760002446

The Orcia River marks the southwest border of the Brunello di Montalcino region. It sits below the hillside vineyard and winery facing south/southwest that bears its name. The nose is complex, earthy and aromatic, with mushrooms, cedar, tobacco supporting scents of bold cherries. The palate is a similar affair, with intense black cherry flavours flecked with spice and just a hint of oak. The tannins are already softening at six years old, making it drinkable, but there is no rush given its undeniable Brunello power in the finish. It will age for decades. Brunello di Montalcino by law must be 100 per cent Sangiovese. Grilled smoky meats or mushroom risotto is the ticket here.

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Is there more to this story? Wed like to hear from you about this or any other stories you think we should know about. Email vantips@postmedia.com

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Anthony Gismondi: B.C. wine of the week, wine to cellar and calendar items - Vancouver Sun

Were digging deep into the Far Out Magazine vault to bring you a special moment between two of the most influential artists to have ever walked planet earth; David Bowie and John Cale.

David Bowie made no secret of his huge admiration for The Velvet Underground throughout his glittering career. Its a fascination that began after his then-manager, Ken Pitt, had visited iconic artist Andy Warhols Factory studio and returned to London with an acetate copy ofThe Velvet Underground & Nico.

The rumour goes that Bowie began performing songs from the album almost immediately after receiving the record. In fact, he was the first artist to perform the VUs songs in Britain. So, when Bowie eventually became friends with Lou Reed, John Cale and the rest of the band, its little surprise that they ended up collaborating musically. In 1978, during a long, frivolous and somewhat debauched session in New York City, Cale and Bowie put some infamous jam sessions to tape.

On the back cover of one recording of a bootleg single, the 45 rpm 7 description read: On October 5, 1978, David Bowie and John Cale went into the Ciarbis Studio, which is located on top of a house or apartment complex in the city of New York. They recorded some songs there. Here are some results of these unique rehearsals!

According to Cales own words, his artistic relationship with Bowie was so strong that he could never produce his work, as Bowie had done for Lou Reed. Instead, the duo preferred to have fun with it, playing a few live shows and secretly jamming together. David and I didnt actually meet until I first went back to New York, after Id done Patti [Smith]. When we did that bootleg, it was like the good old bad old days. We were partying very hard. It was exciting working with him, as there were a lot of possibilities and everything, but we were our own worst enemies at that point, Cale has previously said.

The Velvet Underground man added: We also played that show for Steve Reich and Philip Glass. That was a lot of fun. That was when we were hanging out, so I asked David if hed like to come and play Sabotage with me. I ended up teaching him the viola part, which he had a whack at and then ended up playing on stage for the first time.

Acknowledging both Bowies and his own ability to fall headfirst into a pool of hedonism, Cale would prefer to keep the session between them purely fun, Did I ever want to produce Bowie? After spending time with him, I realised the answer was no. The way we were then would have made it too dangerous.

Cale continued: He could improvise songs very well, which was what that bootleg was all about. The great thing about when we met and then started hanging out in the 70s was that he would say [puts on thick Welsh accent] Thats Dai Jones from Wales, isnt it? He loved all that. That set us off. We got along really well, but most of what we were doing was just partying.

They may well have been partying a lot but judging by the sessions below there was most definitely a Cale-produced album in there somewhere. It may have produced the same quality of work as the last Velvet Underground/Bowie crossover, Transformer.

Alas, we will never have the chance to see or hear such a thing. That said, we do have these candid moments between not only two of the most influential artists of modern music, but two good mates, David and John. Enjoy a sample of the demos, below.

[MORE] Take a look back at Lou Reed, John Cale, and Nico reuniting on French TV, 1972

(Via: Dangerous Minds)

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Remembering the time David Bowie and John Cale got wasted and jammed, 1978 - Far Out Magazine

The von Trapp family brings to life one of the greatest theatrical soundtracks to The Sound of Music. Photo by Eric Maasch Photography

Opera House Theatre Company as kicked off its 35th season with an outstanding rendition of the Rodgers and Hammerstein classic The Sound of Music. Director Ray Kennedy has outdone himself, with glorious sights and crisp sounds to awe audiences. The traditional show, while light in tone, is layered thick in an atmosphere resembling America with its own current political divide, making the play more timely than timed-out. Its a solid staging all around and a hell of a way to kick off a seasonand this is coming from someone who isnt normally a fan of the show or movie.

The Sound of Music may boast a nearly three-hour runtime, but it doesnt seem that long, thanks to its razor-shape pace. Its a compliment to the well-oiled machine that Kennedy and his cast and crew have created.

Set in Austria on the eve of Anschluss (the annexation of Austria into Nazi Germany) in 1938, the musical tells the story of Maria (Elizabeth Stovall), a soon-to-be nun who takes a job as governess to a large family. She falls in love with the children and eventually their widowed father, Captain von Trapp (Zach Hanner). After bringing love and music into the lives of the family, she marries the officer, and together with the children they find a way to survive the loss of their homeland to the Nazis.

During Kennedys curtain speech, he pointed out that one cannot produce The Sound of Music without a great sound of music. The production has found it in music director Stephen Field. Field captains his orchestra and plays the piano through solemn hymns like Preludium and belting ballads in the title number. He captures whimsy in the quick Do-Re-Mi and The Lonely Goatherd.

The curtain opens with a barrage of habit-wearing nuns invading the stage. The Nonnberg Abbey is brought to life in clever ways that utilize both the depth and scope of Thalian Halls main stage. Thalian Halls exposed brick back wall gives a real look to the Abbey. The use of a fly rig system is put to great execution, too, bringing in one beautiful mat painting after another, which again adds to successful pacing. That said, the concept of tying both the Abbey and mountain settings together falls flat. While the colors of the stained-glass window of the Abbey are beautiful, the line work fails. And its used so often, it earns notation.

Set designer Terry Collins takes a minimalist approach when needed but also knows when to splash the stage with details. The von Trapp family home screams of their wealth but also of their disciplined life, overseen by a Navy captain. Large rooms dressed with just the fanciest of the bare necessities subtly shows his regimented nature before the audience even meets him. Though, the lavish backyard set is the pice de rsistance of the whole production.

Possibly one of the best character introductions on stage is the appearance of Maria over the hills, belting out the title track. Her introduction is done through the theatre house; though, folks in balcony seats wont see her at first, so it may seem confusing when she doesnt appear on stage. But it is the only criticism I have when it comes to Elizabeth Stovalls performance as Maria. She is so utterly enchanting in the role, its easy to forget others have played it. She beams with organic warmth and care for the world and her fellow humans. Her pain for the slightest digression reads so real, wrought with self-created guilt. Its quite an astounding performance, but I dont think anything can match her singing. Wow! Her vocal control in Do-Re-Mi is incredible. She stuns with the opening number but continues through each thereafter as a tour de force on stage.

Stovall shares a solid chemistry that is believable and sweet with her lead man. Anyone who knows Zach Hanner knows just how chill of a fella he is. So to see him show such stoicism as Captain von Trapp is really surprising in all the best ways. Hanner convincingly brings about a pained figure, falling back on all he knows to survive: commanding his family as a battalion. His patriotism for his beloved Austria, when Hanner stands proudly against the impending Nazi regime, will make audiences cheer for him. Hanners voice carries a sense of loss with it as he joins in with The Sound of Music reprisal and a rekindled passion in the number Edelweiss.

The von Trapp seven are solid-serving as well. Jordan Davis as Liesl leaves the biggest impression. The number she shares with Dru Lomans Rolf, Sixteen Going on Seventeen, is sweet if misguided. Braelyn Sudduth as Brigitta is a precocious detective, truly funny when paired with any adult character. But the productions secret weapon is the adorable Katie Grace Marinos as Gretal, the youngest of the von Trapps. She never falters when taking the stage, and the audiences collective awws fill the theatre at everything Marinos does.

The supporting cast also shines. Elizabeth Field as Mother Abbess, with her exquisite set of pipes, never fails to bring down the house. Climb Evry Mountain will resonate for days to come, and the team of Beth Crookham as the affluent would-be fiance to the Captain, and Jay Zadeh embodying the hedonism of family friend/talent scout Max Detweiler, are hilarious in the number How Can Love Survive. Zadeh brings a lot of fun to a funny role.

It can often get labeled safe or old-hat to rely on a classic library of plays and musicals. Known names are certain to drum up business. Yet, when care and vision are brought to them the way Ray Kennedy and Opera House do with their production of The Sound of Music, it becomes clear why these shows are classics in the first place.

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TIMELY, NOT TIMED OUT: Opera House Theater Company's 'The Sound of Music' is an utterly enchanting experience ILM's Alternative Weekly Voice - encore...