How to Blow Up a Pipeline

Last night my nephew Sean and I went to the Broadway to see How to Blow Up a Pipeline.  We were both really looking forward to this movie and it did not disappoint!  A ragtag group of young environmental activists, including Xochitl (Ariela Barer), Shawn (Marcus Scribner), Michael (Forrest Goodluck), Dwayne (Jake Weary), Theo (Sasha Lane), Logan (Lukas Gage), Rowan (Kristine Froseth), and Alisha (Jayme Lawson), come together in order to sabotage an oil pipeline in West Texas because they believe it is the only way to get people to care about the climate crisis.  What they are doing is inherently dangerous but they are also beset with other challenges that make this an intense thriller that will keep you on the edge of your seat.  The audience is dropped right in the middle of the action but there are flashbacks which show how each member of the group became radicalized (the most compelling reasons, in my opinion, are Michael's despair as an indigenous person over the fracking that is destroying his ancestral home and Dwayne's anger over the government's misuse of eminent domain to take his land for a pipeline) and the commentary on climate change, as well as other issues (particularly a scathing condemnation of the healthcare system), is incredibly thought-provoking without being too heavy-handed.  There is an unrelenting sense of urgency that is enhanced by a fast pace, a plot twist (that I figured out just minutes before it was revealed), and a pulse-pounding electronic score by Gavin Brivik.  The entire ensemble cast is outstanding with Goodluck as the standout for me.  Regardless of how you feel about climate change or eco-terrorism, this is incredibly powerful and I highly recommend it.

Ballet West's The Wedding

Last night I attended Ballet West's performance of three really intriguing ballets.  I still definitely prefer full-length ballets that tell a story but I am coming around to these smaller pieces in repertoire.  The first one on the program was Les Noces (The Wedding) with choreography by Bronislava Nijinska and music by Igor Stravinsky featuring vocal solos by Seth Keeton, Melissa Heath, Christopher Puckett, and Jin-Xiang Yu.  It tells the story of an arranged marriage between Russian peasants in four vignettes. A Bride (Victoria Vassos) is supported by a group of friends who form very interesting patterns around her while they braid her hair and her parents who comfort her as she expresses her fears about her upcoming marriage.  Next, the Bridegroom (Dominic Ballard) celebrates with his friends and parents with exuberant and athletic dances.  Then, the Bride is shown leaving her home to be married and her mother (Katlyn Addison, my favorite dancer in the company) laments losing her daughter.  Finally, the wedding is celebrated by the entire village, with choreography filled with ritual and symbolism, and then the couple depart for their own home after the Bridegroom promises his Bride a life of happiness. This ballet, in my opinion, is quintessentially Russian with the dancers costumed very simply as peasants in brown and emotional music that sometimes seems like the vocalists are wailing.  I particularly liked it when the choreography had the entire ensemble moving en masse because there was something so powerful and primal about it.  The next piece was In the Night with choreography by Jerome Robbins and music by Frederic Chopin.  It tells the story of three couples as they navigate their relationships in the starlight.  The first couple, Amy Potter and Hadriel Diniz, is costumed in white and purple and their dance is lyrical and incredibly romantic.  The second couple, Emily Adams and Adrian Fry, is costumed in a copper color and their dance is dramatic, tempestuous, and very passionate.  The third couple, Katlyn Addison and Brian Waldrep, is costumed in dark grey and red and their dance is athletic, playful, and filled with longing.  The piano music is beautiful and I think this ballet is really classical and elegant.  The final piece was Light Rain with choreography by Gerald Arpino and music by Douglas Adamz and Russ Gauthier.  This ode to youth is joyous and full of wild abandon and it was my favorite piece of the evening.  I really loved the original music, which is described as Eastern music played on Western instruments, because it is incredibly dynamic with lots of percussion and the acrobatic and sensual choreography was a lot of fun to watch.  The last pose in the Pas de Deux by the central couple, Emily Adams and Hadriel Diniz, is simply incredible and the audience erupted in applause!  The program is a bit eclectic and unconventional but it is really exciting and I thoroughly enjoyed it!  Get tickets here.

Into the Woods at West Valley Arts

I really love the musical Into the Woods and the production I saw last night at West Valley Arts is the best one I've seen there!  A Baker (Jared Lesa) and his Wife (Annie Ferrin), a Witch (Dianna Graham), Cinderella (Chloe Victoria), Jack and the Beanstock (Ren Cottam), and Little Red Riding Hood (Sibley Snowden) must go into the woods in order to make all of their wishes come true but they eventually learn that actions sometimes have unintended consequences and that wishes do not always turn out happily ever after. The entire cast is absolutely stellar and it is hard for me to single out just a few performances because every actor is so well-suited to his or her role and every musical number gave me goosebumps. However, the highlights for me were "Agony" because Chase Peterson as Cinderella's Prince and Woody Brook as Rapunzel's Prince are so hilariously overwrought with over the top facial expressions and gestures, "It Takes Two" because it is such a turning point and both Lesa and Ferrin give spirited performances, "Last Midnight" because Graham's rendition is incredibly powerful, and "No One Is Alone" because it is such a poignant moment between the Baker, Jack, Cinderella, and Red and Lesa, Cottam, Victoria, and Snowden sing it beautifully (I may or may not have had a tear in my eye). Another performance that I really enjoyed was Dan Radford's as the puppeteer for Milky White because he is very humorous during his interactions with Cottam (and the design for Milky White is fantastic). The choreography is innovative and perfectly suited to the small and intimate space. I was particularly impressed with "Into the Woods," "So Happy," "Ever After," and "Children Will Listen" because of the sheer number of people on the stage and the intricate patterns they are able to create. I also loved the staging of "First Midnight" and "Second Midnight" because all of the actors enter the stage carrying illuminated lanterns and it is quite dramatic. There are a lot of really fun special effects and I especially liked when the Baker saves Red and her Grandmother (Natalie Peterson) from the Wolf (Chase Peterson) and when the Stepmother (Kerilyn Johnson) mutilates the Stepsisters' (Sydney Claire and Jaymie Lambson) feet to fit into the gold slipper. The set is absolutely magical with giant moss-covered tree stumps on the main stage, groups of trees located in the areas above the wings, and trees that come down from the rafters. The costumes are some of the best I've seen at WVCArts and I was really impressed with the attention to detail. My favorites were the Witch's gown after her transformation and Cinderella's ball gown. I truly loved everything about this production and it is definitely one that you don't want to miss (go here for tickets).

Suzume

I really enjoyed Your Name so I have been anticipating the release of Makoto Shinkai's latest film, Suzume, for quite some time.  I was able to see it yesterday and I really loved it (even more than I was expecting).  Suzume (Nanoka Hara) is a 17-year-old girl who lost her mother at a very young age and continually dreams about searching for her after their neighborhood was destroyed by an earthquake and the subsequent tsunami.  She believes she can see her mother in a beautiful field but she cannot reach her.  One day she encounters a handsome and mysterious young man named Souta (Hokuto Matsumuro) who is looking for ruins.  She directs him to an abandoned resort and then impulsively decides to follow him.  She finds a free standing door and, when she opens it, she sees the same beautiful field where she thinks her mother is and tries to enter it.  But, instead of finding her mother, she finds a relic which unleashes something devastating into the world.  The relic is transformed into a cat named Daijin (Ann Yamane) who escapes and, without the relic guarding the door, a supernatural worm which causes earthquakes is allowed to escape.  Souta and Suzume are able to close the door and prevent the earthquake but Daijin curses Souta and turns him into a chair.  Suzume and Souta now must chase Daijin to various abandoned places all over Japan to close the doors he opens and to convince him to return Souta to his body.  It is only when Suzume learns to reject death that Daijin becomes the relic once again and Souta becomes whole again.  This has so many important messages about the connection between the spiritual and the natural world but I really liked the lesson that Suzume learns about overcoming her trauma and embracing life and new relationships (there are so many beautiful scenes where she and Souta are helped by kind strangers) and I found it to be incredibly moving.  There are some fantastical elements that might be problematic for some people but I think they work very well because they are grounded in the reality of the natural disasters that plague Japan.  The animation is absolutely beautiful, especially the use of light and color in natural settings, and I also really loved the emotionally charged score.  Definitely go see this, especially if you are a fan of Shinkai’s previous films or of Japanese anime in general.

Hairspray at the Eccles

Last night I had the chance to see Hairspray at the Eccles Theater and it is such a fun production!  Plus-sized Tracy Turnblad (Niki Metcalf) dreams of dancing on The Corny Collins (Billy Dawson) Show, of being noticed by teen heartthrob Link Larkin (Nick Cortazzo), of integrating the show so that her Black friends can dance with her, and of becoming Miss Teenage Hairspray 1962.  Velma Von Tussle (Addison Garner), the former Miss Baltimore Crabs, and her daughter Amber (Ryahn Evers) do everything they can to stop her but Tracy and her friends Penny Pingleton (Emery Henderson) and Seaweed J. Stubbs (Charlie Bryant III) and her parents Edna (Andrew Levitt AKA Nina West) and Wilbur (Ralph Prentice Daniel) prove that you can't stop the beat and make all of their dreams come true!  The main cast is outstanding but I was really impressed with Metcalf as Tracy because she is incredibly charismatic and can really sing and dance.  I also really enjoyed Lauren Johnson as Motormouth Maybelle, because her rendition of "I Know Where I've Been" just about blew the roof off of the Eccles Theater, as well as Levitt and Daniel, because their antics had the audience hooting with laughter during "Timeless to Me."  The ensemble is also fantastic, especially the dancers on The Corny Collins Show and the Dynamites (Sydney Archibald, Melanie Puente Ervin, and Jade Turner), because they execute the high-energy choreography very well, particularly in "The Nicest Kids in Town," "I Can Hear the Bells," "Welcome to the '60s," "Run and Tell That," "The Big Dollhouse," and "You Can't Stop the Beat."  My favorite song in the show is "Mama, I'm a Big Girl Now" and I really like how they staged it with the girls and their mothers in front of their vanities.  The sets have a fun retro vibe (although some of the set pieces seemed to be a bit unwieldy to move on and off the stage) with my favorites being Motormouth Maybelle's Record Shop and the Baltimore Eventorium (the giant can of Ultra Clutch Hairspray is awesome) and the period costumes are colorful and sparkly.  The humor is really suggestive so keep that in mind but I highly recommend this show for the great message about loving yourself and standing up for what you believe in.  It runs at the Eccles through April 16 (go here for tickets).