Many, many great performances this weekend, and I’ll be hopping from one to the next to cover them all. Here’s an abbreviated look at the coming busy week. In no particular order. Theatre Gigante’s A Little Business at the Big Top at UWM’s Kenilworth Studio 508 Why? Because Gigante brings back clown-mime David Gaines, who […]
Many, many great performances this weekend, and I’ll be hopping from one to the next to cover them all. Here’s an abbreviated look at the coming busy week. In no particular order.
Why? Because Gigante brings back clown-mime David Gaines, who wowed Milwaukee a few years ago with his one-person version of The Seven Samurai. Here, he’s a hapless circus performer with a problem. To open, John Kishline, Isabelle Kralj and Mark Anderson perform Gigante regular Malcolm Tulip’s The Scottish…Play. Don’t say it!
Why? Because Argentine pianist Ingrid Fliter wowed audiences with a Mozart concerto in 2010, and here she’s back with a heftier load, the achingly romantic Chopin Second Concerto. And Edo de Waart conducts his first concert of the season by continuing his Brahms symphony cycle, this time it’s the joyfully pastoral Second Symphony.
Why? Because Norman Moses does a mean Groucho, and by that I don’t mean a grouchy Groucho. He’s played the comedy master several times on stage, and here he celebrates the Marxist life via a musical play written by Groucho’s son. He’s helped out by the likes of David Cescarini (Chico), Chris Klopatek (Harpo) and a few of the good citizens of Fredonia. Hail!
Why? Because last season’s visit by Flamenco Vivo Carolota Santana was so good, so explosivo, that the SMPAC had to bring them back. Flamenco isn’t merely dance, but a blend of dance, live music, and theater that sweeps you away with building waves of intense emotion. Don’t miss it.
Why? Because the Danceworks Performance Company has expanded on one of its great success stories, the Art to Art performance series that is an annual summer event. The idea here is to put choreographers together with musicians to create brand new work. And the musicians and dancemakers are first rate.
Why? Because Popkin is a former dancer with the Trisha Brown company who has made his mark with his own brand of dance theater. And this new work—Ruth Doesn’t Live Here Any More—explores his heritage (he is half Jewish and half Indian) through the eyes of Modern Dance pioneer Ruth St. Denis, who was known for her “oriental” dances.
Why? Because this Montreal quartet is renowned for its playing of Italian early music (17th century or thereabouts), and assembled this program to explore the tension between the earthly and the spiritual. So put that in your theorbo and smoke it.