The lights rose on a warm-colored set, reds and pinks draped over the backdrop. Twelve women filed onstage, sitting on assorted stools, and thus began the Saturday performance of Lafayette's first-ever Vagina Monologues show. The performance, on Saturday, Mar. 20, was the second of three to benefit the Gretta Foundation, a new local organization that provides nursing school scholarships for students in the developing world. This fits with the Vagina Monologues' mission to end violence against women and girls, according to Marketing Director Laura Windisch. "One of the strongest ways to do that is to empower women," she said. "By educating them, it raises their position in society, and makes violence against women and girls less likely to occur." Each of the actors delivered an impassioned performance, resulting in a strong overall show at the Lafayette Veterans Memorial Building. Moreover, the actors (ages 17 to "up and above") seemed to honestly believe in their monologues, and their conviction was clear. This gave the show a believability which many other amateur plays never achieve. According to Executive Producer Marie-Louise Juslin, the monologues were written with emotional intensity. "The play touches upon some really serious issues, issues that have to be addressed,"...
I had heard about the famous George Balanchine for years, ever since I first began training in Ballet and Modern Dance, but did not have the opportunity to see his work live until Sunday, Feb. 21. Prior to the show, I researched his style and vision, and watched several clips of his work but was only at the live performance that I truly understood his style and finally understood the meaning of "modern" or "contemporary" ballet. A repertoire of his pieces, called "Balanchine Masterworks," was performed by members of the San Francisco Ballet at the War Memorial Opera House in San Francisco. After a lengthy BART ride and a mad dash through the rain in formal-wear, my companion and I arrived at the Opera House out of breath but excited for the show. In our haste, we unknowingly rushed right past the main entrance and found ourselves at the stage door. I walked in to ask for directions to Will Call, and the assistant director of the company introduced herself and graciously offered to lead us directly there, rather than sending us back out and around the building through more rain and mud. Without further ado, we found our...
The Marin Symphony nailed a concert of classics on Feb. 28, under the sensitive and inspired baton on Music Director Alasdair Neale. Both orchestra and conductor engaged much more closely with the music than at their October concert. The orchestra opened with a compelling rendition of Debussy's "Prelude to the Afternoon of a Faun." A strong flute opening led into a series of striking dynamic contrasts, giving the piece life and excitement. Neale shaped the prominent harp line clearly and melodically, painting Debussy's picture with care and emotion. Perhaps Neale feels more comfortable injecting emotion into well-known pieces - his performance this evening was far more interpretive than in October, and it lent a comfortable air to the pieces. Next was Copland's "Lincoln Portrait." Neale began with a weak opening passage, lacking volume or conviction. As the piece progressed, however, the brass and percussion sections provided a full sound, with good balance across the orchestra. Celebrity narrator Hoyt Smith (of KDFC) spoke clearly and strongly, shaping his phrases as if playing an instrument. The skilled interplay between narrator and orchestra highlighted the piece's dramatic shape, and Neale evoked a loud and lively performance. The highlight of the concert came after intermission....
