Family vacay (and a stock signing!)
9 years ago
6.19.2009
GILGAMESH
Circle of Stones Ritual Theatre Ensemble presents Gilgamesh at Allentown Symphony Hall this weekend and next weekend! Go to www.allentownsymphony.org for ticket information!
Check out this article from The Morning Call....
Five thousand years ago, legend says, Gilgamesh, two-thirds god and one-third human, ruled the great city of Uruk on the banks of the Euphrates river in Babylonia. Through harsh rule and fierce ambition, he lost the faith of his people and watched his city's greatness decline. But after an epic quest involving fantastic journeys and superhuman exploits, he regained his wisdom and the city's grace.
A huge stone of lapis lazuli, engraved with an account of the great king's exploits, is said to have stood by the tall cedar gates of the city. Now, the Circle of Stones Ritual Theatre Ensemble will recount the epic drama of Gilgamesh once more, not in cuneiform script on stone, but on the stage of Symphony Hall. And this time, the tale of transformation is about Allentown.
''Gilgamesh,'' on stage this Friday through Sunday and again next weekend, is ''an epic action adventure,'' says ''Gilgamesh'' director Steven Dennis, associate professor of performing and fine arts at De Sales University, artistic associate for the Pennsylvania Shakespeare Festival and '' Star Trek'' television actor.
An original stage adaptation of the ancient Sumerian legend by the Emmaus-based ensemble, its creation is something of a epic journey itself, the result of three years of research, improvisation and experimentation. The basic draft was completed during summer retreats in 2007 and 2008; the final script written by Circle of Stones producing artistic director Pana Columbus. Funding came from a dozen foundations, churches, organizations and companies.
A huge stone of lapis lazuli, engraved with an account of the great king's exploits, is said to have stood by the tall cedar gates of the city. Now, the Circle of Stones Ritual Theatre Ensemble will recount the epic drama of Gilgamesh once more, not in cuneiform script on stone, but on the stage of Symphony Hall. And this time, the tale of transformation is about Allentown.
''Gilgamesh,'' on stage this Friday through Sunday and again next weekend, is ''an epic action adventure,'' says ''Gilgamesh'' director Steven Dennis, associate professor of performing and fine arts at De Sales University, artistic associate for the Pennsylvania Shakespeare Festival and '' Star Trek'' television actor.
An original stage adaptation of the ancient Sumerian legend by the Emmaus-based ensemble, its creation is something of a epic journey itself, the result of three years of research, improvisation and experimentation. The basic draft was completed during summer retreats in 2007 and 2008; the final script written by Circle of Stones producing artistic director Pana Columbus. Funding came from a dozen foundations, churches, organizations and companies.
The production features 40 professional and local actors, dancers, and singers. Its format of drama, music, storytelling, and even comedy is neither play nor musical, opera nor operetta. Nothing quite like it has been done in the area before.
Columbus says ''Gilgamesh'' is ''a personal transformation story,'' but also about ''community transformation.''
''We saw the obvious parallels between this king's transformation and what's happening now in Allentown. It went through its glory days, then into a kind of decline and death phase. Now it's reviving itself into something completely new.''
Past, present and future are intermingled, much like a classic Greek drama. Its two acts are bookended by scenes of a modern-day Allentown city street, where young people interact with a famous figure from the city's past -- philanthropist General Harry Trexler, re-created by George Miller, former artistic director of Allentown's Theatre Outlet and Trexler re-enactor before he moved to Ireland a few years ago. In between these scenes we are transported back to the world of Uruk.
''Harry Trexler serves as this magical person who lives in both worlds. He might be speaking with Latino kids one moment, then dips back into ancient Uruk the next,'' says Columbus. ''He's the bridge between the ancient adventure story and the modern-day transformation. Our invitation to the community is to embrace his bold, courageous, pioneer spirit. We're asking everybody to have that relationship with the city.''
The storytelling involves many classic devices. In one sequence, a voyage by Gilgamesh (ensemble member Tom Byrn) and the wild man Enkidu (DeSales theater instructor Kris Yoder) is depicted as a shadow play, where the characters appear behind a screen illuminated from the rear. The scene is narrated in Greek-chorus style.
Utnapishtim, the Mesopotamian Noah, is played by Shakespeare Festival favorite Wayne Turney. Turney is one of three equity actors in the play.
No ancient epic would be complete without a goddess: Rachael Joffred plays the vengeful Ishtar. Spurned by Gilgamesh, she invokes the wrath of a great beast -- the Bull of Heaven -- to wreck havoc on Uruk.
Ensemble music director Scott Eggert composed the score, a mix of keyboard, electronic instruments, woodwinds, African drums, Asian gongs and singing bowls. The sound is at once new age, jazzy, classical, and Middle Eastern. Sarah Carlson, assistant professor of dance at Muhlenberg College, is choreographer.
Dennis views ''Gilgamesh'' as a catalyst for the revitalization of Symphony Hall as well as Allentown.
''We are finding ways of using Symphony Hall as a performance space in a manner that the public has never seen,'' he says. ''The very act of buying a ticket there can be the very beginning of creating a downtown magnet for an entertainment and dinner destination. I've seen this happen across the country; I've done a lot of regional theater. Allentown is ripe to find its new identity.''
Columbus says ''Gilgamesh'' is ''a personal transformation story,'' but also about ''community transformation.''
''We saw the obvious parallels between this king's transformation and what's happening now in Allentown. It went through its glory days, then into a kind of decline and death phase. Now it's reviving itself into something completely new.''
Past, present and future are intermingled, much like a classic Greek drama. Its two acts are bookended by scenes of a modern-day Allentown city street, where young people interact with a famous figure from the city's past -- philanthropist General Harry Trexler, re-created by George Miller, former artistic director of Allentown's Theatre Outlet and Trexler re-enactor before he moved to Ireland a few years ago. In between these scenes we are transported back to the world of Uruk.
''Harry Trexler serves as this magical person who lives in both worlds. He might be speaking with Latino kids one moment, then dips back into ancient Uruk the next,'' says Columbus. ''He's the bridge between the ancient adventure story and the modern-day transformation. Our invitation to the community is to embrace his bold, courageous, pioneer spirit. We're asking everybody to have that relationship with the city.''
The storytelling involves many classic devices. In one sequence, a voyage by Gilgamesh (ensemble member Tom Byrn) and the wild man Enkidu (DeSales theater instructor Kris Yoder) is depicted as a shadow play, where the characters appear behind a screen illuminated from the rear. The scene is narrated in Greek-chorus style.
Utnapishtim, the Mesopotamian Noah, is played by Shakespeare Festival favorite Wayne Turney. Turney is one of three equity actors in the play.
No ancient epic would be complete without a goddess: Rachael Joffred plays the vengeful Ishtar. Spurned by Gilgamesh, she invokes the wrath of a great beast -- the Bull of Heaven -- to wreck havoc on Uruk.
Ensemble music director Scott Eggert composed the score, a mix of keyboard, electronic instruments, woodwinds, African drums, Asian gongs and singing bowls. The sound is at once new age, jazzy, classical, and Middle Eastern. Sarah Carlson, assistant professor of dance at Muhlenberg College, is choreographer.
Dennis views ''Gilgamesh'' as a catalyst for the revitalization of Symphony Hall as well as Allentown.
''We are finding ways of using Symphony Hall as a performance space in a manner that the public has never seen,'' he says. ''The very act of buying a ticket there can be the very beginning of creating a downtown magnet for an entertainment and dinner destination. I've seen this happen across the country; I've done a lot of regional theater. Allentown is ripe to find its new identity.''
6.10.2009
(Not) an Addict Photo Shoot
Dancers: Danielle Vallies, Alexandra Feldman, Carrie Moore, Tonya Cooper, Brandy Hill (not included).
6.04.2009
(Not) an Addict
Here's the performance video of my piece, (Not) an Addict from Student Dance Works 2009.
6.03.2009
Spring Semester Catch Up
Wow...I'm really REALLY bad at this blogging business. Way too hard to manage this while in the midst of total college chaos but now I find I have the time and so I will not sum up the remainder of my kinda sorta senior spring semester. I'll explain the kinda sorta senior business later.
The semester began with our musical, Leader of the Pack which in my opinion (and the opinion of many others) was a complete and udder disaster. I was dance captain for the show and although I had a fairly fun time, the show and the material was by way challenging or impressive. Enough said about that mistake.
As soon as the show closed, we packed our things and left for the American College Dance Festival held at Penn State Main. I was performing in a piece called "When the Theater Doors Close" choreographed by my best friend, Carrie. It was a fun piece where we were dressed as dolls with hot pink wigs and run a muck. The festival itself wasn't as impressive as I had hoped. I have heard that in recent years the whole organization has kind of gone down hill which is a shame. Luckily the college paid for us dancers to attend because otherwise I would not have gone. The whole thing is just too much money.
Literally right after returning from Penn State we went into tech week for our Student Dance Works concert. My piece (Not) an Addict was well received. I'd love to go back to that piece one day and work on it some more and add on to it. I also danced in Carrie's piece again and a Chicago style jazz number which was nice. We had 11 student choreographers this year and it was a great turnout.
And right after that we went into tech week AGAIN but this time for the B.A. Dance Concert. My 25 minute long senior piece, "Ophelia" was featured in the show and I could not believe the amount of great comments I got on the piece. I'm so proud of it and of my soloist, Desiree. She is the most beautiful dancer I have ever danced with or choreographed for and she just blows me away. She embodied the character in a way I didn't think she could. It was truly amazing and a pleasure to watch her dance that part. I also got a A+ on the piece which was nice haha.
The semester ended with our Spring Dance Company Concert where I was in three pieces. It was a pretty nice concert. I liked the pieces I was in and the costumes actually weren't bad this time.
During the fall semester I had decided to change my theatre minor into a major since I wasn't far from completing the requirements for the major but due to that I will be at Cedar Crest all next year to complete the degree which means I will be a SUPER SENIOR!!! I was kinda bummed to not graduate this year but I feel more closer to the girls that are graduating next year so I'm happy to graduate alongside of them. Plus, I will get to down more productions and choreograph. Currently I'm collaborating with Carrie and my Ophelia soloist, Desiree on a winter piece about the lose of our fathers and how it effects us during the holidays. I'm also working on a separate piece for the spring student concert about Alfred Hitchcock. I'd say more about it but I don't want to give away the fun! I am also cast as Madeleine Usher in Carrie's Edgar Allan Poe dance production and I'm dancing in Desiree's senior project and student piece. So, I'll have my hands full.
This summer I'm working on another production with Circle of Stones where I'm a member of their ensemble. I am many things in the show including a dancer, priestess, goddess, some kind of Kabuki looking ghostly thing that travels in the water and tries to steal souls, and I'm sure many more characters to come.
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