News & Events
DPJ’s Wire series delivers news and information straight from the source without translation.
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.
As summer moves toward autumn, don’t miss a final opportunity to catch Actors Theatre’s very funny two-play repertory before it slips away. Presented at the Helen K Mason Performing Arts Center, The Cottage by Sandy Rustin continues through August 10, while The Book Club Play by Karen Zacarías ends its run August 17.
By scheduling performances throughout June, July, and August, Producing Artistic Director Matthew Wiener deliberately bucked a common misconception about Valley audiences. “There used to be this kind of prevailing wisdom that everyone left Phoenix in the summer…that’s why no one did anything,” says Wiener. “And that’s just not true. I mean, a lot of people take vacations and holidays but they don’t go away for 12 weeks.”
“Actors Theatre is trying to actively reinvent after leaving the Herberger, which was a shock to our system,” he continues, “and I think this summer program is one way that we’re trying to stay vital and relevant and exciting and important to the community.”
According to Wiener, the strength of the company’s performances lies in strong casting. “They’re just marvelous performers,” he says. “I was actually trying to cast both shows together…the characters seemed to line up…and so I started kind of making up my fantasy football.” Wiener laughs. “It was like fantasy casting, and I pretty much got my first choice — my first draft.”
He explains, “I was really looking for actors who are very flexible, who could manage the language — because the language of both plays is pretty challenging — and people who I thought would get along well for 10 weeks.” Weiner continues, “These are very long contracts for the actors…and it was important to me that we work with all local people.” He adds with a smile, “I think I just got really, really lucky.”
Both plays feature Maren Maclean, who’s performed for Phoenix Theatre, Southwest Shakespeare Company, and Verse Theatre Manhattan. Joseph Kremer, who starred in a potent Actors Theatre production of A Steady Rain last season, joins Angelica Howland — familiar from performances with Phoenix Theatre, Stray Cat Theatre, and Childsplay — and Tyler Eglen, an actor-educator with a diverse background in theater and science. Ian Christiansen of Southwest Shakespeare, Stray Cat, and Phoenix Theatre rounds out the cast with recent ASU graduate Alexis Green.
“I think they’re all lovely,” says Wiener, “and they all have different moments.” He points out, “Maren, who plays Ana [in The Book Club Play] — she really has to run the gamut of emotionality. And we actually worked on that, because…you want it to be emotionally truthful, but by the same token you don’t want it to get so deep and horrifying that you can never work yourself out of it.” Wiener smiles. “Because after all they have to live happily ever after — it’s a comedy.”
The Book Club Play delves into the dynamics of a long-running book club, with plenty of shocking revelations and laughably realistic interplay. “I think it’s fun when they talk about the ‘homoerotic undertones of Moby Dick,’ [and] making fun of Twilight,” says Wiener. He explains that the play began as a more satirical, hard-hitting piece until Zacarías — the experienced, award-winning author of The Bare-chested Man, Looking for Roberto Clemente, Mariela in the Desert, The Sins of Sor Juana, and an adaptation of How the Garcia Girls Lost Their Accents – reworked it.
“I think it’s a testament to the writing, and the fact that it’s been rewritten several times,” he says. “Karen is a very careful writer — the language is very specific. And I just have an amazing ‘A’ team up there.”
The Cottage, on the other hand, is pure farce written by actress Sandy Rustin, who created the Off-Broadway sketch comedy musical Rated P (for parenthood). “It has some of the style of Nöel Coward,” says Wiener. “It’s informed by that kind of English aristocracy or English wit.” He adds, “It’s not an earth-shattering piece of theater, but it’s pretty damn funny for an hour and a half.”
“Right now there’s a fair amount of dialogue in the theater industry about the lack of women’s plays being produced,” Wiener continues, “and it’s something odd going on that we’re so far away from parity. But Actors Theatre has traditionally done a lot of plays by women.” He says with a laugh, “Maybe there’s just something about the voices that I enjoy — I grew up in a house filled with women; I live in house filled with women.”
Actors Theatre also presents That’s Life: From Sinatra to Sondheim on August 10, featuring Kristen Drathman, Rusty Ferracane and Craig Bohmler performing standards from the Great American Songbook and Broadway, including tunes by Cole Porter, Johnny Mercer, Stephen Sondheim, and more.
Look for a future DPJ story previewing Actors Theatre’s upcoming 2014-2015 season, which includes Theresa Rebeck’s Seminar, Sharr White’s Annapurna, Sarah Ruhl’s Stage Kiss, and Joan Didion’s The Year of Magical Thinking.
If you go:
- Troupe: Actors Theatre at www.actorstheatrephx.org or 602-253-6701
- General admission
- Venue: The Helen K Mason Performing Arts Center, 1333 E. Washington
(nearby free parking available)
DPJ’s Wire series delivers news and information straight from the source without translation.
Arizona Super Bowl Countdown Clock Unveiled at America’s Friendliest Airport
With 179 days and counting until Super Bowl XLIX, the Arizona Super Bowl Host Committee and Phoenix Mayor Greg Stanton unveiled a countdown clock at Phoenix Sky Harbor International Airport which will mark the days, hours and minutes until the opening kick-off of the State’s third Super Bowl since 1996.
“We’re thrilled to have the Super Bowl XLIX countdown clock prominently located at Sky Harbor, the most highly-trafficked point of entry to the state. As we hit the six-month mark, this will help drive awareness and anticipation for the Super Bowl and all the surrounding events,” said David Rousseau, Chairman of the Board of the Arizona Super Bowl Host Committee.
The state-of-the art digital clock located in Terminal 4 at Sky Harbor is illuminated on a 55 inch, high-definition LED screen. After today’s unveiling on the west end of the baggage claim area, an additional countdown clock was illuminated on the east end of baggage claim in Terminal 4. The terminal serves more than 80 percent of Sky Harbor’s passengers.
“The city of Phoenix is ready to host its largest Super Bowl celebration yet,” said Phoenix Mayor Greg Stanton. “Phoenix Sky Harbor will be the gateway to the Valley for tens of thousands of Super Bowl visitors and we are working closely with the Arizona Super Bowl Host Committee to ensure the best fan experience the NFL has ever seen.”
In the month surrounding the big game, Phoenix Sky Harbor will serve an estimated 4 million passengers. The new PHX Sky Train will provide a quick, convenient ride from the airport to the light rail connection, giving football fans an easy way to travel to Super Bowl Central, a festival made up of 12 city blocks that will be the epicenter of free, fan fun, in Downtown Phoenix. Super Bowl Central will be held for four days leading up to the game.
Super Bowl XLIX will be played at University of Phoenix Stadium on February 1, 2015, marking Arizona’s third Super Bowl in 19 years. At Super Bowl XLII in University of Phoenix Stadium on February 3, 2008, The New York Giants beat the New England Patriots 17-14. Arizona’s first big game, Super Bowl XXX, was held at Arizona State University’s Sun Devil Stadium in 1996, with the Dallas Cowboys beating the Pittsburgh Steelers 27-17.
DPJ’s Wire series delivers news and information straight from the source without translation.
Local First Movement Gains Pivotal Seat at the Traditional Economic Development Table
International Economic Development Council Names LFAZ Director Kimber Lanning Citizen Leader of the Year
Local First Arizona Director Kimber Lanning has been named the recipient of the 2014 Citizen Leadership Award from the International Economic Development Council (IEDC). The annual award recognizes a community leader who has endeavored to further the profession of economic development and has played a key role in economic development in his or her community.
“This award is a milestone in a changing economy, one that is now recognizing the work of Local First Arizona and other Local First initiatives as a viable part of economic development.” said Phoenix Mayor Greg Stanton. “Kimber can proudly accept this award on behalf of everyone working to create sustainable, resilient, diverse, and vibrant local economies in their own communities.”
Lanning’s background is entrepreneurial, having owned three arts-related businesses over the past 27 years. Her work in the arts and culture community provided the platform for Lanning to launch Local First Arizona (LFA) in 2003. “I founded Local First Arizona for two reasons,” said Lanning. “First, I saw too many bright young people leaving Arizona for other cities like Austin and Portland. I wanted to inspire others to stay in Phoenix to help build a world class city. Second, I thought the massive subsidies being given to national chain stores were a raw deal for local communities, and I wanted to see Phoenix return to a climate where businesses, particularly retail and restaurants, had to pay their own way.”
Making an impact on the local economy
Lanning’s leadership has transformed Arizona’s local economy in a drastic way. LFA is now the largest locally owned business coalition in North America with over 2,500 business members, large and small. The online business directory she and her team created gets searched uniquely 48,000 times per month on average and they have amassed nearly 70,000 social media followers. She has 13 full-time staff members in offices in Phoenix, Tucson, and Cottonwood working tirelessly to help citizens, business leaders and policy makers to understand the connections between local ownership and widespread prosperity. It is clear that the message is being heard, as the local business community reported sales were up 8.1% in 2013, which is significantly higher than the national average retail sales (local and national chains combined) of 4.2%.
“The movement to diversify our economy isn’t about baristas, shop keepers, or servers,” Lanning explains, “but about the ecosystem of businesses that support independent ownership. Accountants, graphic designers, web developers, attorneys–they all prosper when diverse, independently owned Arizona businesses are thriving. That ecosystem is lost when local business ownership is scarce.”
Using “sense of place” as a tool for economic development
Lanning is quick to site a Knight Foundation study which recently showed “connection to place” as the single-most leading indicator in places that have prosperity. “We need to be sure that people living here feel connected to this place, and locally owned businesses play an important role in that connection. Communities with a strong sense of place are highly successful in attracting the very kinds of high tech workers that our high level economic development teams seek to bring here to Arizona.
“Through Local First Arizona, Kimber continues to create a sense of pride within our communities and showcase the vibrant cities in our region, which helps our organization in attracting businesses to the region,” said Barry Broome, president and CEO of the Greater Phoenix Economic Council. “It comes as no surprise to see an outstanding community leader from Arizona selected as the IEDC Citizen Leader of the Year.”
Policy and programatic successes
As Director of Local First Arizona, Lanning has overseen many policy changes that have fostered local economic development. She has worked on streamlining the adaptive reuse program at the City of Phoenix, which has enabled more businesses to open up in older building stock that only just recently blighted the city. This policy work has been pivotal in jumpstarting downtown Phoenix’s revitalization and recently landed Lanning the Distinguished Citizen Planner Award from the Arizona Chapter of the American Planning Association last year.
Additionally, Lanning and her team have worked diligently on government procurement policies that would enable more Arizona companies to compete, keeping more dollars and jobs flowing through the local economy. Local First Arizona has also seen many programmatic successes that have directly contributed to economic development. LFA was the first local business organization in the country to implement a Spanish language initiative, called Fuerza Local, a business accelerator program which works to encourage low-income Latinos to think entrepreneurially to create a pathway to prosperity for themselves and their families.
Furthermore, LFA’s efforts extended far beyond Arizona’s urban areas when LFA acquired the Arizona Rural Development Council (AZRDC) in May of 2013. Today, Lanning regularly travels across the state to work with rural stakeholders to help find creative solutions for building resilient and diverse economies for the state that include increasing in-state tourism. She also leads the annual Rural Policy Forum, a gathering of rural economic development professionals, nonprofits, community leaders, business owners, and stakeholders who are interested in sustaining rural communities.
Taking a broad approach towards economic development
“The successes of Local First Arizona over the last decade have underscored the broad range of strategies that Arizona needs to pursue for sustainable economic development,” said Lanning. “Through supporting entrepreneurs and locally owned enterprises—both large and small—we are maximizing the ecosystem of a healthy economy that builds widespread prosperity and supports more jobs. Local First Arizona is creating healthy local economies across the state that will in turn draw further economic development opportunities.”
Lanning emphasizes that a healthy Arizona economy needs to be diverse, resilient, and thriving. “To get there,” she says, “We need to invest in our own talent and develop policies that enable our business community to thrive.”
Lanning will accept the Citizen Leadership Award at the IEDC Annual Conference in Fort Worth, Texas, on Monday, October 21. Lanning is the second from Arizona to be recognized with the IEDC Citizen Leadership Award. Last year’s award recipient was Sharon Harper of Phoenix, a founding board member of the Greater Phoenix Economic Council and co-founder of the real estate firm Plaza Companies.
It’s hard to imagine how exciting it must have been to attend the 1913 premiere of Igor Stravinsky’s The Rite of Spring, which ended in a riot because of the disturbing rhythms and incendiary musical patterns. Even Beethoven – now considered a staid staple of classical music – was once regarded as somewhat revolutionary in his harmonies.
A concert titled Opus II features premiere performances of works by members of the Arizona State University Society of Composers, Inc. (SCI) in the informal, inviting setting of Phoenix Art Museum, offering the chance to perhaps hear from a modern-day Stravinsky or Beethoven.
“The partnership with the museum is great,” says SCI president Collette Sipho Mabingani, “because…we have the same mission: exposing the public to this music that sometimes is not accessible.” Mabingani was born and raised in South Africa and obtained degrees at Grand Valley State University and Central Michigan University before earning his doctorate in music composition at ASU.
“I started with [percussion] performance,” he says, “and…you have to improvise, so you get this idea of creating…and I got tired of playing other people’s music. I love experimenting with new kinds of music, so I still try and discover something I’ve never heard before.” At Opus II Mabingani will perform his own composition, a solo autobiographical work using rhythms reflecting his personal journey from South Africa to the West, including Latin cadences.
Other composers will use various configurations of a “Pierrot ensemble” of flute, clarinet, violin, cello, percussion, and piano — named after the instrumentation used by Arnold Schoenberg in his landmark 1912 melodrama Pierrot Lunaire (Moonstruck Pierrot) –- plus saxophone.
“Even though it’s been around for over a hundred years,” says SCI public relations manager Elliot Sneider of the ensemble, “there’s something always new about it, for some reason. There’s a lot you can do with it, so it’s kind of fun to work with.” Shortly after Sneider wrote his dissertation analyzing blues in the music of Aaron Copland, Maurice Ravel, and George Gershwin, he composed Big Hands Blues for piano, then arranged it for Opus II.
“I…was drawn to jazz when I was very young,” he says, “…this pull to jazz composers like Charles Mingus and Thelonious Monk, and the idea of having these structures that…allow for improvisation.”
Sneider studied composition at New England Conservatory of Music and New York University, then received his DMA from ASU, where he was initially intrigued by the work of professor James DeMars. “I have a jazz background,” says Sneider, “so for me there’s always been a pull to accept other cultural music and ‘how do I bring things together?’” He continues, “I found he’s someone who has…made a career dealing with those issues, and so that’s why I wanted to study here.”
“He [DeMars] composes in the same way that I do, which is what we call ‘intercultural music’,” says Mabingani, who also found his advisor’s compositions appealing. “But he uses Native American music with Western music, combines it and makes it his own…so I just fell in love with the way he writes.”
“I think all of the composers at the school really have something unique to bring,” adds Sneider. “Usually you choose your composer and you work only with that person, but here [at ASU] they not only encourage but require you to…work with all of them for a much broader experience.”
“There’s no one dogma, or one style,” says Israeli composer and Doctor of Musical Arts student Gil Dori. “I really got into the music of [ASU professor] Glenn Hackbarth — he’s…into the music on the electronics side, and that’s what I’m interested in doing too.” Dori came to ASU for his master’s degree after graduating from Haifa University, which he describes as “really heavy on composition…the best composers in Israel.”
For Opus II, Dori wrote a work called Shevarim; “in Hebrew it means ‘fragments’ or ‘shards,’ he explains, “but it’s also one of the calls of the shofar [ram’s horn], and really that’s a work based on an old Eastern European Jewish folk tune…it just slowly emerges through this texture.” The piece is a duet for saxophone and bass clarinet, and Dori enjoyed integrating sound effects like tongue smacks, clicks, and breathing through the instruments.
Visit the Phoenix Art Museum this afternoon to hear these new works by Mabingani, Sneider, Dori, and other ASU composers — it’s free with museum admission, and the program promises previously unexplored treasures.
If you go:
When: Sunday, May 11 at 1PM
Where: Phoenix Art Museum
Cost: Free with museum admission
UPDATE (5/11/14 12:47PM): Here’s a live streaming link if you can’t attend the performance: http://ustre.am/1dGp0