Sacred Profane Chamber Chorus Performs New Work by Michael Bussewit-Quarm

The Sacred and Profane Chamber Chorus performs a cappella chorus music that performs classic secular and sacred works dating back to the Middle Ages as well as contemporary music by emerging composers.  Sunday afternoon at the 222 in Healdsburg, the Sacred and Profane sang works by Sibelius and Ralph Vaughan Williams along with 21st C works from six composers all born in the later half of the 20th C.  The world premier performance of "Now is the Time" by Michael Bussewitz-Quarm was the final and most compelling work on the program.  It wove complex harmonies into a bravado of confluent voices. Artistic Director Rebecca Seeman outlined a defining theme for the program all enbracing dreams to "...realizing a better life."  Seeman directs a repertoire of music that speaks to social justice and socially relevant issues.  Bussewit-Quarm's (BQ) piece "Now is the Time" was commissioned by the Sacred and Profane.  It was being performed for only the third time on our stage.  The piece acknowledges a hope and healing for the world around us.  "Now is the Time" featured four soloists, including a standout performance by tenor Michael Villarreal with his clear and vibrant singing voice.  The hope in "Now is the Time" is for acceptance and finding love.  BQ is transgender and a staunch advocate for the LGBTQ community.   The absence of musical accompaniment was remarkably not needed for the full stentorian sounds with only vocals.  "Visions of Glory" by Trevor Weston (b. 1967) felt incongruent with clapping, snapping and stomping added to the singing.   My second favorite work, "Dreams" was by Scandinavian composer Jacob Muhlrad (b. 1991).  The piece utilized the soprano and alto section to provide a hypnotic humming which elevated the tenors and baritones and created a somnambulant impression.  Muhlrad referenced Langston Hughes text: "Hold fast to dreams For when dreams go Life is a barren field Frozen with snow."   The concert was a powerful blend of old and new with voices rising to embrace the beauty of music expressing our shared humanity,  

EMILY the CRIMINAL- Aubrey Plaza Steals the Film

Aubrey Plaza is unforgettable in this season of WHITE LOTUS as the wife in a waning marriage.  Plaza is also starring in the thriller EMILY the CRIMINAL as a debt riddled art grad.  Emily works delivering catering while searching for more lucrative employment.  First seen on a job interview, Emily admits a search of her record would reveal a DUI as a student and running a red light where no one was hurt. Her interviewer lied about not having read her report.  He questions her about an assault conviction her record.  Caught in her deception, Emily goes on the offensive calling him out for his duplicity.  She snatches her file and storms out.  In addition to a combustible temper, Emily shows a tender side.  She agrees to help a co-worker with his  nightshift so he can attend his son's game.  The co-worker thanks her by giving her a contact to make a quick $200 on a job.  Emily's prospects appear dismal.  She lives in a squalid, shared walk-up, burdened by her student loan and its compounding interest.  After her hectic workday, she meets her girlfriend for drink.  As she listen to her friend's flourishing career and lifestyle, Emily's stilted path garners our sympathy.  The two spend the night snorting coke in the bathroom and sprawling across the sidewalks.  In the morning, Emily texts the number given to make some easy money.  Before entering the circumspect location, Emily removes a mace spray from her purse.   It's clear Emily will not allow herself to be a victim.  The room of people are told they are going to make dummy purchases with fraudulent cards.  On the verge of leaving, Emily is drawn in and becomes swept up into riskier scams for bigger payoffs.  The cons and crooks in this heist thriller are convincing but the movie scores because of the stunning performance by Plaza.  Her bulbous eyes convey a scan of emotions from viciousness to vulnerability and envy to loathing in a flash.  The film is a prescient and convincing portrayal of what person is capable of when pushed to the precipice.  Plaza's commanding performance gives the film an intensity that makes this worth watching.   It would be a crime not to see Aubrey Plaza land more leading roles.   

Play Reading of HOME-Homeless Enclave Unites by Nathaniel Roberts

An open reading of the new play HOME by Nathaniel Roberts was performed for the public, free of charge at the Raven Theater Monday evening.  The artistic director, Steven David Martin, welcomed the audience of several dozen thespians for coming despite a Warrior and football game.  "What's a Warrior game?" called out a young woman with purple and magenta hair which was met with chuckles from an enthused audience.  Martin went on to introduce the playwright seated at the back of the theater and invited everyone to stay after the reading to offer feedback or ask questions of the playwright or actors.  The eight cast members are part of the Raven Players affiliated with the Healdsburg Center for the Arts.  Six of the cast portrayed homeless individuals living under an overpass around the Bay Area.  An Asian father who owned a small convenience store and his college age daughter are forced to navigate past the homeless encampment to reach the father's business.  Hostilities arise between the shop owner and those living in the make shift shelters.  The father vehemently forbids his daughter from conversing with these people and belligerent to those addressing him.  Meanwhile, his daughter strikes up a conversation and concern with the young homeless woman, Monica.  We learn Monica has a four year old daughter living in foster care and that Monica prostitutes herself to support her meth addiction.  We also learn the histories of the other homeless which include a former attorney, nurse and minor league baseball player.  Francisco is young homeless man who befriends Monica.  He's a new outsider to the group and his role muddles the plot. (He also needs correction on his pronunciation of kibbutz.)  It seems incredulous this forged family of homeless all had impressive careers and would show solicitous concerns for each another.  The former attorney plans to appeal to the courts to claim these grounds rightfully theirs.  Nicholas James Augusta as Bluejay, an alcoholic and former ballplayer, is particularly sympathetic and credible.  Mina Lim as the college co-ed is also winning as the earnest daughter who quarrels with her dad and takes an interest in Monica's welfare.  The consensus for the actors was positive who brought their characters to life.  My feedback for the playwright is to limit the homeless to one or two individuals to cement an understanding which may develop between a nearby business owner and homeless individuals when strewn together.   A live script reading is performed monthly.   One new play will be selected from the readings for a full staging at the end of the season.  

PEPSI WHERE'S MY JET? Advertisers be Ware but Grows Weary

The true David v. Goliath story of a teen taking on the powers and deep pockets of a major corporation,  tends to win fans rooting for the underdog.  In the 1990s, Pepsi was gearing up its battle with Coke to win the cola wars.  Pepsi's plan was to gain more market shares with a campaign using swag, sex and a major gag.  Swag in exchange for redeemable Pepsi points, sex with just one look at Cindy Crawford cooling her thirst while adolescent boys watched drooling and a bad ass ad that commandeered a Harrier Jet.  The Harrier lands outside a school classroom causing havoc with a caption "7,000,000 Pepsi points" redeemable for the jet.  Those with nostalgia for this ad will be reminded of how it swept consumer interest with its wink at humor and youth associating Pepsi as your preferred drink.  Those seeing the ad (ad nauseam) in this four part (two part) too long Netflix series, will find it bemusing, at least at first.  How likely is it for someone to take the ad literally and take the challenge?  John Leonard was a college student in 1996 living at home, doing odd jobs.  One of his jobs was as a climbing guide where he crossed paths with Todd Hoffman.  The older, financially set Hoffman and amenable Leonard formed a friendship as they bonded over weeks on various climbing ventures.  Hoffman became Leonard's mentor and benefactor.  Leonard became obsessed with obtaining the jet and enlisted Hoffman's support with his ad hoc business plan to coerce Pepsi to make good on their promo.  An appealing friendship and underdog story unfolds but soon grows old. With Hoffman's tutelage and backing taking on the task to hold Pepsi with their deeper pockets and limitless lawyers, to keep their promise we sign on for their journey.  The initial media frenzy with fresh faced Leonard as a college kid calling Pepsi for pay up is fun and entertaining.  The problem is maintaining a compelling story that drags over a generation through mounting litigation.  Gnawing interviews with people at Pepsi, its ad agency, legal adversaries and Leonard and Hoffman grow wearisome.  Sympathy garnered for the young, assimilated actors portraying Hoffman and Leonard goes cold as the players grow old and become annoying.  Sizzle is added by the chance enlisting of the not yet certified attorney, Michael Avenatti.  Avenatti's corrupt advise for Leonard portends his own legal problems as a lawyer.  Avenatti's animated interviews are taped while under house arrest for his extortion and fraud convictions.  There is plenty of gusto spurting intermittently but it tastes flat.  The ongoing blind taste tests were clever; Coke won,  Take my advice with a spoiler alert:  Don't bother to take a look.  Take the money and run.  

Jessie Montgomery's "Soul Force" Performed by Santa Rosa Orchestra

It's always exciting to hear a new composition by a contemporary composer.  Last evening, the Santa Rosa Orchestra performed Jessie Montgomery's "Soul Force" at the Weil Center at Sonoma State.  Montgomery (b.  US 1981) is a renowned violinist and composer.  She's been honored with the Leonard Bernstein Award and The Sphinx Medal of Excellence.  The New York Philharmonic has been chosen as one of the composers for "Project 19" marking the 100th anniversary of the ratification of the 19th Amendment granting the right to vote for women.  "Soul Force" was commissioned by the Dream Unfinished, a benefit for civil rights and premiered in New York City 2015.   It's an innovative, one-movement symphonic work that is a coalescence of classical structure and contemporary styles such as jazz and R+B.  The surprising piece begins with percussive staccato bursts followed by moments of complete silences leading into a beckoning clarinet solo syncopated by sharp popping sounds that intimate gunshots.  A mounting horn section beckons a timpani of percussive snapping sounds, ringing off cymbals, rolling  snare drums, and clopping of the glockenspiel.  There's a notion of continuous interruptions.  These percussive bursts fail to dismantle the orchestration as it puts forth a steadfast, marching sensibility which speaks to an indomitable attitude.  Montgomery stated, "The music takes on a form of a march which begins with a single voice and gains as it rises to a triumphant goal."  There is an overall feeling of positivity and strength despite persisting confrontations.  And, a sense of resiliency comes through harmoniously with its  mounting wind section.  The bravado blend of rich sounds emit from tubas, bassinets, horns, flute and oboes rise into a clarion sounding cry.   Montgomery explains having named her preeminent "Soul Force" composition, "I have drawn the work's title from Dr. Martin Luther King's 'I Have a Dream' speech in which he states: 'We must not allow our creative protest to degenerate into physical violence.  Again and again, we must rise to the majestic heights of meeting physical force with soul force."  

Roberts Clooney Ticket to Paradise-Phooey Don't Go There

The rom/com film "Ticket to Paradise" which stars the superstars Julia Roberts and George Clooney is unwatchable and unworthy of its cast.  It goes to show,  even bankable, A list movie stars can't save a supercilious script from being a total disaster.  Roberts and Clooney play a bitterly divorced couple, Georgie and David Colton.  The two agree to set aside their acrimony to abort their beloved daughter's plans for matrimony,  Kaitlyn Dever plays their beloved daughter Lily.  Lily just graduated from law school.   Lily and her college roommate, are off to Bali for a much needed vacation after graduation.  On their island vacation in paradise, Lily meets the man of her dreams and the two plan to wed.  Georgie and David agree this disastrous decision will destroy their daughter's future career and happiness.   Their schemes to disavow any wedding vows are what nightmares are made of.   Plots where parents know what's best for their child has been done before as in the iconic film, "Guess Who's Coming to Dinner" (1967) starring Hepburn, Tracy and Sidney Poitier.  This was a groundbreaking film depicting an interracial couple planning to marry.  In 2017, the Library of Congress selected "Guess Who's Coming to Dinner" as "culturally, historically or aesthetically significant."  I'm guessing Roberts and Clooney want to be considered the Hepburn/Tracy duo of the 21st C.   In "Ticket to Paradise"  Roberts and Clooney look foolish.  The plot is lame.  I'm not to blame if you're tempted.  You've been warned.  Don't bite!

Richard Branson Doc. is Full of Hot Air

The HBO Doc. BRANSON aired its first of four episode last night but failed to ignite sparks of awe for the adventurer, entrepreneur and founder of the Virgin group of companies.  The interviews that Richard Branson and his sister gave are so laid back as to be laughable.  Lindy Branson, gave a very relaxed interview while lying with her legs aloft a chaise.  Richard is filmed in casual attire, if not shirtless, with his trademark flowing locks and gleaming smile.  Of course, there's plenty for Richard to smile about, although a foreboding tape of Richard predicting "the only reason for seeing this tape is in the event of my death."  This clip was filmed days prior to his blast off into outer space in his Virgin Galactic rocket ship.  Spoiler alert, the launch was successful but it follows other major mogul rocket ship launches with passengers.  While Branson's successes have stemmed from risks, the doc. failed to take many.  It felt as though Branson was in control of releasing and editing to permit only flattering footage and commentary.  It's fair to say Branson is not intimidated taking financial risks.  His mantra being "You can't run a business without taking risks.  The brave may not live forever - but the cautious do not live at all."   We see his charmed lifestyle on his own idyllic island with the exotic animals he's brought there to live. A lightning bolt caused the destruction of one of the large properties where his mother and Kate Winslet were staying.  Everyone escaped without injury and there is a photo of Winslet carrying Richard's mother away from the burning building, both with large smiles.  Branson has hosted many famous people on his island including Princess Diana.  It's enjoyable seeing the rich lifestyle afforded Branson and his family.  Branson boasts joyfully of the seven years the family lived together on a small house boat while managing his many businesses.  Branson maintains he relies on instinct and giving people a lot of rope to do their jobs.  This seemed to give Branson a lot of freedom to enjoy the fruits of his others' labors.   Branson dropped out of college to get on with the life he knew he wanted realizing schooling wasn't going to help achieve.  Ironically, despite having dyslexia his first business was a start-up magazine STUDENT.  Perhaps lightning only strikes once because there were no major thunderbolts or revelations in this pleasant but tepid coverage of such a dynamic figure.  The next episodes will cover some of his daring, or even reckless risks taken with his own life.  This episode had me wondering what was hiding behind the curtain that made Branson so certain in his quests.

GOOD NIGHT OPPY-Doc. of NASA Exploration Rover to Mars

GOOD NIGHT OPPY charts the 15 year mission of the NASA exploration rover sent to MARS.  It's a miracle that the rover survived 15 years, well past the expect 90 day mission.  There's a lot of groundbreaking material and a lot of never before seen ground uncovered on MARS in this two hour plus documentary.  The first mission to Mars was a complete bust and the butt of late night comics' jokes.  NASA engineers knew the pressures they were under to succeed this time.  GOOD NIGHT OPPY doesn't launch outside the orbit of feeling like a public relations video to promote NASA and enlist future engineers.  I applaud these efforts but feel slighted that the footage is mainly re-creations rather than actual depictions of MARS' terrain.  Several scientists and engineers narrate over the years sharing their insights and excitements for the project.  It was exciting to learn Mars at one time had water on the planet.  Understanding what caused Mars' water to disintegrate would bear major significance.  I liked seeing how problem solving was achieved by building a model and recreating the troublesome terrain the robots were experiencing.  There's a lot of shared celebratory fellowship and concern.  Perhaps, so much so that it feels forced causing one to feel cynical for what the jingoism is masking as in the exorbitant budget allocated by the government,  OPPY is the nickname for the Rover originally named Opportunity.  The crew bestows human traits to OPPY and their attachment feels too sentimental.  Of course, they have spent 15 years of their lives working on the project which is also their livelihood.  The film project feels like a massive missed opportunity to share actual imaging and information learned from this mission.  Alas, why were there no conjectures as to why OPPY greatly surpassed her expected expiration?       

RANKED A Musical-High School Pressures Combust amid COVID Memorialized

The pressures placed upon high school students for getting good grades to get into good colleges, these are the times that try teens' souls.  Hey, let's put on a show of our trials and tribulations.  David Gomes, composer, and Kyle Holmes, (G&H) theater director at Granite Bay High School in CA, decided to turn  student's concerns into a concert shedding light on the insurmountable pressures felt by teens to achieve academic success.  Students were interviewed by G&H and much of the dialogue was lifted directly from their conversations and writings.  RANKED is a doc. of the making of the musical at Granite Bay H.S. but it achieves much more.  The camera follows students through their junior/senior years to graduation and several months post-graduation.  Several students are featured not only from Granite Bay but other schools throughout the country that optioned the rights to perform RANKED.  The camera closes in on faculty and close family members.  What's captured is a refreshing angle on young people who care not only about their futures but each also other and the supportive adults committed to obtaining the best opportunities for them.   While feeling the burdens of grades and schoolwork, the overriding sense of camaraderie and youthful exuberance is prevalent and up-lifting.  And, just when the students thought it safe to go back on stage, COVID caused a national lockdown marking 2020, one for the record books.   Ingenuity, humor and artistic fervor surmount obstacles caused by forced separation and isolation.  Videos of the students sharing their feelings during lockdowns should be treasured in time capsules for posterity.  Their struggles with boredom and navigating online learning are candidly charming.  These students worked hard to graduate but were robbed of the rights of passage that come with senior years in high schools.  Fordham School principal was teary eyed when acknowledging the class did not receive year they deserved.  The students irrepressible attitudes prevailed.  They reveled in their accomplishments with pragmatism, good cheer and gratitude.  They were sad they were unable to thank their teachers in person.  The doc. filmed the derailment of RANKED being staged for Broadway due to COVID.  The Broadway auditions were fun to watch but not nearly as poignant or rewarding as watching students auditioning for the show and colleges online.   RANKED soars when the camera captures the students performing and really hits its stride when sharing the student's unabashed moments of pride. 

Fleishman Is in Trouble-Is White Rich People Whining

The TV miniseries "Fleishman is In Trouble" is migraine inducing white, wealthy, Jewish people living in New York City whining about their lives.  Starring Jesse Eisenberg as Dr. Toby Fleishman and Claire Danes as his theatrical agent wife.  The series is based on the novel of the same name by Taffy Brodesser-Akner.  This 8 episode series follows neurotic, New Yorker Toby, navigate from college through marriage, family, divorce and back to the online dating scene in his early 40s.  Both the book and series pictures its two central characters as self-indulgent, anxiety riddled and coddled with taken for granted privileges.  Unlikeable characters whom we scorn and relish for mocking their self-made problems and snobbish behaviors.  We meet Toby as a pre-med student with his close college chums, Lizzy (Libby Epstein) and Seth (Adam Brody).  Lizzy acts as a somewhat wiser, sympathetic narrator.  Toby believes his aspirations for becoming a physician are of noble calling.  Toby meets Rachel as a dazzling co-ed  The two have a whirlwind courtship with New York City for a romantic back-drop.  It's not long into marriage before the ball drops.  As Rachel focuses on building her business and Toby maneuvers his way in the medical profession, a fissure arises in their marriage.  Eisenberg is cast as the whiney, incessant talker and Danes as the emotionally wrought woman on the verge of tears.  Not to say this satirical, voyeuristic look into what's troubling the advantageous isn't without entertainment  value.  The cast is outrageously fun to cringe at in their rage, frustration and naivety.  If these pampered people can't be happy they deserve to be miserable.  Lizzy and Seth don't fare much better at becoming happily adjusted adults.   Toby contends with an angry, adolescent daughter and confused son while reckoning with his newfound sexual prowess on the dating scene.   This is a smorgasbord of social parodies of disgruntled, status conscience, wealthy whites which is best be enjoyed with a snide smirk and a side of irritation.