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On the tiny, intimate stage of Space 55, director Charlie Steak and the cast of Mr. Burns, a post-electric play create a surprisingly convincing environment of impromptu community clinging to the familiar after the unthinkable occurs.
“It’s a fantastic choice for us,” says Steak. “At Space 55 what we really want to do is new, innovative work; usually that means doing original scripts.” He continues, “In this case…this script is something that most of us wish that we had written.”
At the 50-seat venue, says Steak, “we want what we do to be affordable and within reach, but that’s not our mission by itself. Our mission is to allow artists to do things that the gatekeepers at traditional theaters prevent.”
Steak, who wrote the play Woman and Girl and an adaptation of Anton Chekhov’s Uncle Vanya, came to Phoenix seven years ago from PlayMakers at University of North Carolina in Chapel Hill. He’s worked extensively with Rising Youth Theatre, Essential Theatre, and Space 55, where he’s currently serving as Associate Artistic Director and troupe member. Steak’s upcoming productions include another installment of the interactive Captain Jack’s Space Attack, with its signature drinking song and audience participation, and Space 55’s 7 Minutes shows, which give local performers seven minutes in which to do anything they want.
Why choose playwright Anne Washburn’s very quirky Mr. Burns? “The Simpsons survive the apocalypse,” Steak explains succinctly. “That’s enough, just by itself.”
He laughs and adds, “The basic idea is you have a group of people after the power grid has gone down — they’re living in a small group for mutual protection, a lot like the people in The Walking Dead, and so they’re sitting around a campfire trying to remember this episode of The Simpsons — that’s the first part…almost like a jigsaw puzzle. And what’s truly fascinating is the bits that they get right, and the bits that they don’t quite get right.”
“And then they go on to become a group of people who start performing episodes of The Simpsons. And this is when perhaps 99% of the population in America is gone, yet The Simpsons survive.”
With an eight-person cast ably supported in the third act by three musicians — Lali Breen, Jeremy Brunansky, and Ron Foligno — Mr. Burns uses the “Cape Feare” episode as its focus. “It’s like going inside an onion,” says Steak. “You’ve got the original [1962 Gregory Peck] Cape Fear movie, you’ve got the  DeNiro version of the Cape Fear movie, then you’ve got the Simpsons’ spoof of the DeNiro Cape Fear movie, and then you’ve got this show, so that’s a lot of layers.”
Washburn joined composer Michael Friedman for Mr. Burns, creating a thoughtfully realistic first act taking place immediately after the power failure, a second act set seven years later, and a completely surreal musical-theater third act following 75 years later. The ensemble includes Cynthia Elek, Brianne Holland-Stergar, Rebecca Brosnan, Toni Jourdan, Cody Goulder, Robert Peters, and Lee Quarrie.
“I’m interested in popular culture,” says Steak. “After the apocalypse these people are…preserving it, and you think about everything you have to deal with…food, water, shelter, safety — but no, there’s room for The Simpsons!” He chuckles. “This is pretty amazing.”
If you go:
Diversity with local relevance is a prime goal for nonprofit arts organizations, and Arizona Opera hopes to pique interest in its forthcoming mariachi opera and expand multicultural outreach with this week’s Hispanic Heritage Festival.
“The whole purpose of the Festival,” says Arizona Opera Education Manager Joshua Borths, “is to bring together the Hispanic audiences who haven’t necessarily been to the opera before, and expose our opera audiences to this incredible world of mariachi music and cultural richness.”
The Festival begins with Monday’s panel discussion on immigration and the arts at Arizona Opera Center, kicking off a week of events leading up to the weekend’s season-opening performances of Cruzar la Cara de la Luna (To Cross the Face of the Moon). Along with moderator Daniel Buckley — a composer, journalist, historian, documentary filmmaker, photographer, and Governor’s Arts Award winner — the roster of illustrious participants includes playwright, journalist, and policy strategist James Garcia and Arizona State University Vice Provost and Professor of History Eduardo Pagán. The third member of the panel is Shoshana Tancer, a highly respected immigration attorney and professor emeritus at Thunderbird School of Global Management. Tancer’s background comprises extensive work in Latin America as well as longtime advocacy for the arts.
“It’s kind of funny because someone said, ‘Yeah, a member of your Opera board should be on that panel,’” says Borths. “I started talking to her [Tancer] and learning more about her life … understanding arts, and understanding all of the complex issues that surround immigration.” He adds, “We’re lucky to have her involved. It’s a really interesting, diverse group of people.”
Tuesday night offers a lecture-demonstration on mariachi history and conventions by retired ASU musicology professor Richard Haefer and his ensemble Mariachi Corazon de Phoenix. The Opera Center transforms itself into a mercado for the Cultural Exchange on October 8, becoming a marketplace. “We’re going to have food trucks, throw open the garage doors,” says Borths. “Mariachi is booked from 6-9, local arts and crafts, and even a guest appearance by Alan Ponce, the runner-up on La Voz, The Voice in Mexico.”
Hundreds of schoolchildren will converge on Symphony Hall Thursday evening to attend the mariachi opera’s final dress rehearsal on Student Night, and Saturday afternoon the Festival concludes its Phoenix events with a showcase of Hispanic art at the Opera Center — “We’ll have some fine art projects and we’ll be showing some Hispanic films,” explains Borths. Opera-goers will also find local mariachi groups playing outside Symphony Hall before each performance, along with the option of informal pre- and post-show lectures.
The Festival’s centerpiece, Cruzar la Cara de la Luna, premiered at Houston Grand Opera in 2010 and continued on to the venerable Théâtre du Châtelet of Paris. The opera was created by director and writer Leonard Foglia and José “Pepe” Martínez, who served as music director for Mariachi Vargas de Tecalitlán from 1975 until his retirement earlier this year. The music reflects Martínez’s signature of rapid violin ricochets and the mariachi styles of ranchera and boleros. Martínez was also influenced by his appreciation for Beethoven and for the 20th-century classical Mexican composer José Pablo Moncayo, who wrote the famously rhythmic Huapango and the opera La mulata de Córdoba.
Martínez and Foglia wove 15 songs into a brisk, emotionally potent 80-minute opera without intermission, using flashbacks to tell a multi-generational story of immigration between Mexico and America. They also use the metaphor of monarch butterfly migration, says Mariachi Vargas violinist José “Pepe” Martínez Perez, Jr., the composer’s son. Speaking through interpreter and assistant manager Ivan Leony, he continues, “They travel for a better situation, a better place, like the butterflies … a lot of them die. That’s like the immigrants … some of them make it; some of them don’t.” Leony adds, “Of course our group has never been — and probably will never be — political. We do it because of the music.”
Arizona Opera’s production of Cruzar la Cara de la Luna features the original cast including Mariachi Vargas, which was founded in 1898 and gained even wider recognition by releasing a popular album with Linda Ronstadt — it’s one of more than 200 recordings from the venerable Mexico City-based ensemble.
“The piece is scored for mariachi and vocalists,” says Arizona Opera General Director Ryan Taylor, “so the band appears onstage and serves as orchestra and chorus, and then the vocalists and dance troupe tell the story in operatic fashion in front of them, so they’re all onstage all the time.”
“There are opera singers who have spent time studying the technique of mariachi vocalists because they have such stamina and such power in their delivery,” Taylor continues, “and there are also mariachi vocalists who have looked to the way that the original musical theater and opera singers performed … without amplification.” He adds, “They’ve really sort of fed off of one another in their development in a cool kind of way.”
Pepe Jr. will lead the upcoming performances somewhat like a concertmaster leading a chamber orchestra, with the trumpets, violins, and rhythm section of Mariachi Vargas arrayed across the back of the stage. Dancers perform downstage with the soloists, including classically trained baritones Octavio Moreno and Brian Shircliffe, mezzo-soprano Cecilia Duarte, soprano Brittany Wheeler, and tenor David Guzman. Spare, minimal sets and lighting suggest vast desert landscapes interspersed with a few indoor scenes.
“Since of course it talks about the undocumented immigrants crossing over,” says Pepe Jr., “it’s very touching and you see a lot of people teary and sad as they leave the performance hall with an open heart, but also fascinated with how the story of an immigrant family could be such a good opera.”
If you go:
Hispanic Heritage Festival (all listed events take place in downtown Phoenix):
- The Borders of Understanding
- Mon., Oct. 6 at 6 p.m. at Arizona Opera Center, 1636 N. Central Ave.
- Three-person panel participates in guided conversation about immigration and the arts
- Mariachi: The Passion and Pulse of a People
- The Cultural Exchange
- Student Night at the Opera
- Connecting the Dots: A Demonstration of Hispanic Art
- Sat., Oct. 11, 12 p.m.-2 p.m. at Arizona Opera Center
- Watch old movies from Mexico and participate in Hispanic art projects and demonstrations
by José “Pepe” Martínez and Leonard Foglia
(sung in Spanish and English with English supertitles)
- Symphony Hall, 75 N. Second St., downtown Phoenix:
- Fri., Oct. 10 at 7:30 p.m.
- Sat., Oct. 11 at 7:30 p.m.
- Sun., Oct. 12 at 2 p.m.
- Tucson Music Hall, 260 S. Church Ave., Tucson
- Sat., Oct. 18 at 7:30 p.m.
- Sun., Oct. 19 at 2 p.m.
- All performances feature:
- Local mariachi performances outside the venue
- Informal lectures before and after each performance
After several years of conservative programming and lean budgets, Arizona Opera launches Arizona Bold, a new artistic initiative of innovative operas with a corresponding four-year $5 million capital campaign.
Two remarkably successful “Million Dollar May” fundraising projects not only brought in income but also raised the company’s international profile, encouraging participation from dozens of new donors across all 50 states, Canada, Austria and Japan along with AZ Opera staff, supporting organizations, and trustees. This response led to even better news: although the new campaign was only recently announced, it’s already raised more than $2 million.
As for programming, Arizona Bold includes two canon-expanding operas each season, encouraging community engagement with each production and also refreshing the tired palates of longtime operagoers with regionally appropriate fare in Phoenix and Tucson.
Plans include Florencia en el Amazonas by Mexican composer Daniel Catán, Frida & Diego by Gabriela Lena Frank and Nilo Cruz, the comic operetta Arizona Lady by Emmerich Kálmán, and the long-awaited world premiere of Riders of the Purple Sage, written by Arizona’s Craig Bohmler with Steven Mark Kohn and based on the eponymous novel by Zane Grey.
Several upcoming operas resonate with current issues — take for example Dead Man Walking by Jake Heggie and Terrence McNally, which focuses on capital punishment, or the wartime story of Silent Night by Mark Campbell and Kevin Puts (who wrote a commissioned work for The Phoenix Symphony and Hermann Michael in 2001 titled Inspiring Beethoven).
The current season promises equally appropriate material beginning October 10-12 with Cruzar la Cara de la Luna (To Cross the Face of the Moon), billed as the world’s first mariachi opera. “It’s an amazing blend…and a terrific story about sense of place and belonging and romance,” says Arizona Opera General Director Ryan Taylor. “It hits all the high points.”
The opera’s Arizona performances feature the original cast including Mariachi Vargas de Tecalitlán, a 116-year-old ensemble. Cruzar la Cara de la Luna was written as a collaboration between director and writer Leonard Foglia and José “Pepe” Martínez, who served as music director for Mariachi Vargas from 1975 until his retirement earlier this year. Expect songs in Spanish and English with English supertitles projected above the stage, and a multi-generational story of immigration told by dancers and soloists through flashbacks.
Taylor explains, “The Hispanic population here in Arizona is such an integral part of our society that…we really wanted to legitimize the piece and call attention to its validity in the repertoire…so we decided to launch the season with it — we felt like it was a great new way to be a little bold.”
Those who love sweeping Romantic orchestral music will find full satisfaction in November’s emotionally wrenching Rigoletto by Giuseppe Verdi — a classic production from Utah Opera — and the first performances of 2015: a brand new production of Peter Ilyich Tchaikovsky’s passionate Eugene Onegin, both featuring the talents of Arizona Opera’s excellent orchestra.
Rigoletto’s tragic tale of a father’s struggle between love for his daughter and a quest for vengeance stars Italian-American baritone Michael Corvino in the title role. “I can tell you we chose him because he made all of us cry in his audition,” says Ryan with a laugh. “I was riveted and it was…haunting and beautiful…[he] has a certain tambour in the voice that is ideal for this kind of repertoire.”
Alexander Pushkin wrote the original story of Eugene Onegin, a sort of coming-of-age romance directed by Tara Faircloth, who was responsible for last season’s popular and engaging H.M.S. Pinafore. Taylor hopes to involve Arizona’s Eastern European residents, he says. “There’s actually a decent-size Slavic and Russian and Serbian population here…and that’s part of our goal: to start producing repertoire that matters to different sets of communities within our borders.”
Consider the intersection of multi-layered Masonic imagery and Wolfgang Amadeus Mozart’s Classical style in The Magic Flute (Die Zauberflöte) in February and March, with a new production by the Metropolitan Opera’s Dan Regazzi. The opera promises sparkling performances from Arizona Opera Marion Roose Pullin Opera Studio alumnus David Margulis in the tenor role of Tamino and a jaw-dropping Queen of the Night aria from soprano Lindsay Russell.
“If there’s operatic singing that [is] sort of superhuman, it comes in Magic Flute,” Taylor says. “You’ll hear the highest and lowest notes written for artists and regularly performed today in this piece, and it’s a fantasy fairy tale.”
The season ends with the fabled nine high Cs of Gaetano Donizetti’s lighthearted The Daughter of the Regiment (La fille du régiment), which was excellently previewed at Arizona Opera’s recent “Town Hall” presentation by tenor David Portillo. Those heart-stopping high notes will ring even more beautifully when Portillo sings them in April. “That’s the reason that you do Daughter of the Regiment, right?” says Taylor with a laugh.
If you go:
- Cruzar la Cara de la Luna (To Cross the Face of the Moon) by José “Pepe” Martínez and Leonard Foglia (sung in Spanish and English with English supertitles)
- Oct. 10 at 7:30PM
Oct. 11 at 7:30PM
Oct. 12 at 2PM
- Oct. 10 at 7:30PM
- Rigoletto by Giuseppe Verdi (sung in Italian with English supertitles)
- Nov. 14 at 7:30PM
Nov. 15 at 7:30PM
Nov. 16 at 2PM
- Nov. 14 at 7:30PM
- Eugene Onegin by Peter Ilyich Tchaikovsky (sung in Russian with English supertitles)
- Feb. 6 at 7:30PM
Feb. 7 at 7:30PM
Feb. 8 at 2PM
- Feb. 6 at 7:30PM
- The Magic Flute (Die Zauberflöte)by Wolfgang Amadeus Mozart (sung in German with English supertitles)
- Feb. 27 at 7:30PM
Feb. 28 at 7:30PM
Mar. 1 at 2PM
- Feb. 27 at 7:30PM
- The Daughter of the Regiment (La fille du régiment) by Gaetano Donizetti (sung in Italian with English supertitles)
- Apr. 10 at 7:30PM
Apr. 11 at 7:30PM
Apr. 12 at 2PM
- Apr. 10 at 7:30PM
Find more information at azopera.org or call 602-266-7464.
Every year Ballet Arizona gives audiences a family-friendly treat with Ballet Under the Stars, a series of free outdoor performances in Valley parks ending at Steele Indian School Park on Saturday, September 27 at 7PM.
“It’s an extraordinary gift to give Arizona,” says Ballet Arizona Artistic Director Ib Andersen, “that we’re doing this program for free. Nobody does what we do.”
The repertoire includes two classics by American ballet iconoclast George Balanchine, beginning with last season’s Walpurgisnacht from Charles Gounod’s opera Faust. Creating an otherworldly atmosphere, Walpurgisnacht refers to revelry celebrating the souls of the dead and a gathering of witches, although the ballet itself isn’t meant to depict a specific event, “except I would say the last movement,” adds Andersen, “when the women let their hair down and they go sort of bananas.”
Brazilian dancer Nayon Iovino, who’s been with Ballet Arizona since 2012, choreographed the evening’s second work for its performances this past May. “I do think that Nayon has talent,” says Andersen, “and this ballet that he did … is a good one.”
Iovino’s creation uses several pieces of music, ranging from an excerpt from Antonio Vivaldi’s The Four Seasons to more modern tunes. The dancers wear simple costumes of jeans and shirts, without pointe shoes.
Ballet Under the Stars concludes with the 1954 work Western Symphony, featuring well-loved music by American composer Hershy Kay on traditional folk-song themes including “Red River Valley,” “Good Night, Ladies,” and “The Girl I Left Behind Me.” Says Andersen, “It’s cowboys and cowgirls, you know?”
Enthusiastically received by audiences last spring at the Orpheum Theatre, Western Symphony uses the natural landscape as its entirely appropriate backdrop this weekend, showcasing nearly 40 performers. “It’s the biggest ballet we’ve ever done in terms of numbers,” explains Andersen. “We’ve had ballets where we had more people on stage, but not all of them dancing at the same time.”
Bring blankets or lawn chairs, friends, and family to enjoy Ballet Arizona’s invaluable gift to the Valley.
If you go:
- All remaining Ballet Under the Stars performances begin at 7PM
- Fri., Sep. 26 at Estrella Lakeside Amphitheater in Goodyear
- Sat., Sep. 27 at Steele Indian School Park in Phoenix — UPDATE: this performance has been cancelled due to a forecast of inclement weather.
- Ballet Arizona’s Open House is Sat., Oct. 5 from 12PM-4PM
- at 2835 E. Washington St., Phoenix
- tour the Ballet AZ studios, meet faculty, enter drawings for ticket giveaways, or try free classes in ballet, jazz and modern dance, yoga and Zumba
- Find all the details on Ballet AZ’s upcoming season, including:
- Swan Lake (Oct. 30-Nov. 2, 2014 with The Phoenix Symphony at Symphony Hall)
- Dancers’ Choice (Nov. 15, 2015 at Ballet AZ’s Dorrance Theatre)
- The Nutcracker Festival (Nov. 16, 2015 at Ballet AZ’s Dorrance Theatre)
- The Nutcracker (Dec. 12-28, 2014 with The Phoenix Symphony at Symphony Hall)
- Napoli (Feb. 12-15, 2015 with The Phoenix Symphony at Symphony Hall)
- Today’s Masters (Mar. 26-29, 2015 at the Orpheum Theatre)
- All Balanchine (Apr. 30-May 3, 2015 at Symphony Hall)
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DOWNTOWN “SUPER PUB” SHOWCASES LOCAL ART, CHANGING DOWNTOWN
The original cover art depicts a bustling Saturday morning at Phoenix Public Market, in an increasingly vibrant and walkable Downtown.
Local artist Justin Queal, whose artwork can be seen all over Phoenix, most notably at CityScape’s Squid Ink Sushi, was commissioned to paint one of his favorite places in Downtown Phoenix for the new Downtown Phoenix Dining Guide & Directory, which hit the streets this week and represents the most ambitious publication Downtown Phoenix Partnership and Downtown Phoenix, Inc., have ever produced.
Queal’s painting is a colorful representation of what Downtown Phoenix has become—a place where people not only work but live, shop and play. Our community is diverse, artistic, passionate and strong.
Similarly the artistic “super publication,” which for the first time combines the popular annual Downtown Dining Guide with the traditional twice-yearly Downtown Directory, was made stronger by an expanded coverage area that includes the Roosevelt Row Arts District. The expanded coverage resulted in 125 new listings for a whopping 411 total businesses featured.
The Downtown Dining Guide & Directory, the must-have resource for visitors and urban explorers, is distributed throughout Downtown and Valley-wide and features a pullout map, expanded dining editorial, local photography, information about Downtown’s emerging music scene, and a walking tour that encouraging pedestrians to explore Downtown’s historic buildings and public art.
You can download the Downtown Dining Guide & Directory here or stop by and grab a copy at the Downtown Ambassadors Information Center, located at 101 N. 1st Avenue, Suite 190.
For more information about Downtown Phoenix please visit www.downtownphoenix.com.