Columbia's New Audience Road Show

Lori falls hard for the Philharmonic

2009-01-22T06:44:00.000-08:00

Well, I will start off with two major confessions. One I am a virgin to blogging and two I am a virgin to the SC Philharmonic. But look at me, I am growing.

So last week we met with the conductor of the Philharmonic and two of the instrumentalists: first chair clarinet and first chair viola. Confession number three: I have a crush on all of them. Let me tell you why.

First, the Japanese conductor is a ball of what appears to be buzzed-on-adult-beverages energy, but I asked around and the guy was sober. He was hilarious! I heard him say the word shit, kinda priceless for a grown man that carries around a tiny little baton. He also explained that conductor jokes are to lawyer jokes as viola jokes are to blonde jokes. I found these both interesting as I considered the parallels and as I was simultaneously catapulted to my GRE analogy studying days. The clarinet guy was mister sauvé himself. First he has been doing this, playing music, forever. He has like 12 clarinets and I think one cost like 5,000 dollars. Plus he played for us this super cool little piece that made his face turn really red, which I for one totally appreciated the effort. Lastly, is my boy Jared. For some reason his is the only name I remember. Does this mean I like him more? I can’t say, maybe I shouldn’t say. But anyhow, Jared was super informative and really witty. Picture this: a professor/instructor that you didn’t mind listening to, who actually said things that were funny and during breaks he played a little ditty on the only viola he owns, not too bad.

Also, we learned that the SC Philharmonic operates on a budget of about a million dollars. Holy cow! And mostly they get their money from generous donors. Now how do I get these donors to donate to the Lori Student Loan Foundation? Ok I digress. So, the short of the long is that it takes a lot of money and a lot of talent, and being cute and funny goes a long way.

Ok, so I want to say something about last night. Last night we watched them all rehearse for the first time for this weekend’s performance. Did I mention that we first ate yummy dinners courtesy of Tio’s? I still have half a wet burrito in my fridge. Dinner fantasies! Focus Lori. So, during rehearsal there was this older man playing the drums and cymbals. The guy was a riot. First, he didn’t have any shoes on and I pretty sure his socks were purple. Secondly, the guy was dancing. Moving and shaking the way I only do after throwing back a few. Actually, he did way better than that. He definitely had Salsa Meringa rhythm. Mad props drum player!

And though we only heard one piece during the hour and a half rehearsal, the piece is like 22 minutes long. And watching our Japanese conductor man was fun. I am pretty sure his legs are sore after a rehearsal because he moves around a lot. Apparently being a conductor is kind of aerobic. Favorite parts: when mister conductor man shrieked from pretend pain, or maybe real pain, from the cello section, at least I think it was the cello section; when mister conductor man made a joke about pirates, which was funny because the thought it was hysterical; and when a light went out and he thought it was a bat, a flying black bat.

So in summary, the Philharmonic rocks! Roadies rock! And I can’t wait till Saturday to go see the performance. And I leave you with this mild yet jovial threat: be there or be square, because my ticket purchases are a drop in the ocean of a million dollar goal! And PS apparently you can wear jeans!

John Experiences the Power of Imagination

2008-10-15T18:04:00.000-07:00

Last night with the Power Company really answered this big question for me:
When you think of modern/contemperary dance do you think of lots of random movements with no apparent story line? This was my intepretation of this mysterious art form...before i met The Power Company.

As cloudy as it seemed this mystery was clarified when I was informed that I did not have to understand a single thing. It was perfectly ok to come to a performance, sit through each piece, and not understand a single thing or relate to anything. This in and of itself could be your experience.

However, I found it really helpful to have some emotion handy when I watched these rehearsals. You see, each audience member will have their individual experience and interpretation of the performance. Everyone has their own emotions and imagination and to bring this to a modern/contemparay dance performance is exetremly important. Let your emotion sit on one side of you and your imagination sit on the other and you will have a great advantage in interpreting the art form. Personally, I was better able to get something from the rehearsals when I pumped a little imagination and emotion into what my eyes were seeing.

Think of it like watching an old TV show with the sound turned down and making up your own story.

The Power (Company) to Change Minds

2008-10-09T06:40:00.000-07:00

As a football-loving, carnivorous, heterosexual male, I thought that a
trip to see a contemporary dance company would be equivalent to castration
without the benefit of anesthesia.

I couldn't have been more wrong if I told you that five plus two
equals bagel. Quite frankly, I was more engaged and interested in this artistic
medium than I ever imagined I could be.

Allow me to elaborate: As someone with a background in physics, I
marveled at the dancers' ability to craft motion to music. More
specifically, and interpretative motion formulated by a human mind in
response to a mechanical wave passing through matter which, in itself,
generates its own motion.

Could I grasp the entire story behind the dance? No! And I didn't
want to, either. As the proud owner of a scientific mind, I was
delighted to be presented with a performance that would be organic,
mysterious, unique, and yet choreographed to the most minute detail.
Life is no fun if the answers are spoon-fed to us. I found the Power
Company provided a vibrant and enigmatic artistic medium that even a
die-hard gearhead like myself could appreciate. I look forward to
their performance later this month!

Rachel Wraps Up our Time at the Museum!

2008-09-15T08:57:00.000-07:00

As if a trip to "the vault," a sneak peek at Dale Chihuly's exhibit, and an invite to the show's official opening, where we had the chance to rub elbows with Columbia's elite all the while stuffing our faces with yummy finger sandwiches (but stuffing in an "artsy" way), weren't enough, the New Audience Road Show had one more treat for us at the Columbia Museum.

On our third visit to the museum we were treated to a private and guided tour of the permanent collection. The tour began after a very interesting talk on the business end of running a museum—where the funding comes from, how it's marketed, where it fits into the community (apparently much of the funding comes from the money we, the citizens, spend in the community—the taxes on things like eating out goes to funding the museum. So when I eat at a local restaurant, not only am I saving myself the hassle of cooking, I'm also becoming a patron of the arts. Bonus!).

After this talk, we broke into two groups, my group was led by the lovely and charming Leslie, and were given some inside scoop about the works in the permanent collection and some helpful insights that made understanding and appreciating the art easier.

Inside scoop: one piece by Remington had been totally stolen in a real life Thomas Crown Affair-esqe art heist. It was eventually recovered, obviously. Incredibly exciting and I never would have know that without this tour.

Interesting detail that led to a better understanding: I've been to the museum a few times and always loved the armoire with the wooden cat perched on the top. I had never noticed, however, that the inlay on the piece—moving from the bottom to the top—depicts a movement up the food chain. At the very bottom of the piece is a grasshopper, further up are some birds, and topping it off is the cat.

We also talked about details like framing a piece—or "marrying" a frame to a work of art. You want the frame to enhance/match the art without distracting from it. I'd never given this much thought but knowing that even this detail is considered really gave me a deeper appreciation of just how much work goes into presenting an exhibit. They make it all so seamless.

And I have to thank our docent (museum tour guide) Leslie. Often when I go to a museum am I either too timid or too proud to ask for a docent tour, but this really showed me how worthwhile it is. I will definitely ask for the tour on all future trips to any museum

Of course there is much more to tell about our Road trip to the museum—but this is just a blog. If you want every juicy detail, you'll just have to Roadie yourself next time J

Can't wait to see what's in store for us next!

Hollar for the Road Show - Herbie Hollar, that is

2008-09-03T12:05:00.000-07:00

Wed 9.3.08: Are You Roadie for Art?!

First day of New Audience Road Show (NARS, or Road show, or just Roadies). The free food each time we meet was a surprise, but for the post-college pre-prostate check guys, it is just one of the fabulous reasons to be in the Road Show.

So we Tuesday night met at the Columbia Museum of Art, the first time all Roadies together, munched on food from Wild Wing (I think), then learned about glass. No kidding. But this is glass you've never seen before. (Neither had I.)

Although we did not get to meet the awesome glass artist Dale Chihuly, the super smart art peeps at the Columbia Museum of Art took us around the galleries, beginning with Chihuly's.

Sea forms.

Think of giant clams crossed with jelly fish crossed with brilliant coral, in cool clear dark tropical water lit from the sun above.

Although we ogled and dared not touch these fabulous glass sculptures, we learned more about the design and preparations for art exhibits, from the color on the wall to the type and intensity of lighting. Everything depends on the art.

We also discussed how art etiquette, especially, how close is too close? About a foot is enough before the security guards throw you out the cargo bay doors. Pointing is iffy, best to keep those greasy fingers away from the art. And be cognizant of what you might back into or lean against. No need to topple over a sculpture and watch it smash to pieces in slow motion, horror struck across the faces of everyone who heard the merciless crash...

Anyway, We roadied pretty quickly through other galleries and saw this hideous glass chandelier, As Ed Maddon put it, big fat drag queen on stage ready for the spot light. The Museum had assembled this--thing--based on their own research since the donor had no photos of it. It is cool for its historical value. But that's about it.

And then the vault. Think of a data center, but it's art, not servers in the climate controlled racks. Or a library for books no one sees, except once and a while. This is where donated art goes to die.

Not really.

Most of the museum's inventory is in the vault, but they cycle the pieces on display once and a while. Although, some work in the vault will never make it onto the floor upstairs. (sniffle)

So, coming up this Thursday, day 2 of this roadness, is the CMA's opening celebration for the Dale Chihuly exhibit. Free food, and free beer and wine.

Oh, another great thing about being a Roading -- yeah, the free beer and wine at art events!

Brent blogs about the Columbia Museum of Art - One Hot Piece of Glass

2008-09-03T10:37:00.000-07:00

The Inaugural Meeting of Columbia’s New Audience Roadshow Class of 2009

At 6:30 P.M. on Tuesday, September 02, 2008, the latest class of Columbia’s New Audience Roadshow entered into the Columbia Museum of Art at the corner of Hampton and Main Streets in downtown Columbia. One of C-NAR’s alumni members named Mark, who gave us a pre-printed nametag to wear during the evening, promptly greeted us. (Good job on the nametags, Mark--they were large enough to read from a distance and had sufficient glue to remain in place for the entirety of the program.)

Shortly after arrival, one of the Museum’s staff members named Leslie escorted us into a back room that featured tables and chairs. In fact, it was one of the “classrooms” that you can witness young children creating art in if you walk down Main Street during the right-after-school-hours between 3-5 P.M. As we watched ballerinas from the Columbia Ballet School walking to cars and construction workers getting into trucks after finishing their jobs on Main Street, another C-NAR alumnus, Lauren, arrived with the food for the evening. She brought a nice spread of fantastic all-white-meat chicken nuggets, Cole slaw, potato salad and macaroni salad, all provided by Wild Wing. The food was as delicious as the company was. There were three or four tables filled with members of the new class, all getting to know each other and realizing that we have a common goal—to increase our awareness of arts happenings in Columbia and how to greater appreciate the arts events that we already attend.

After eating, the program started with “Coordinator Katie” laying the ground rules for the evening and telling us what we could expect tonight and on Thursday. Then, Leslie introduced herself and told us about what she does at the museum (coordinator of programs). Next was Mark, who works in the curator department and is in charge of installing all of the exhibits. After Mark, Grant introduced himself to us. Grant works alongside Leslie and is involved in teaching the classes at the museum. He documents the happenings at the museum and is in charge of “about face,” a group that meets every week and paints models and landscapes. Grant also organizes the podcasts and cell phone tours that you can take during your museum visits. He will be talking with us more next week. Lastly, alumnus Lauren spoke to us about what she got out of last year’s visit to the museum, what changes have been made to the program, and the advantages that she has seen because of her Columbia Museum of Art membership.

We found out the crux of the evening was going to be a tour led by Mark through all parts of the museum, including the brand new exhibit of glass art done by Dale Chihuly. We left the room with the food and went straight to the padlocked main exhibition space. I am not sure if it was locked just to be locked because it was after hours, but I prefer to think that it was locked up because it is so secret and well hidden from Columbia’s arts community. Before entering, Mark reminded us not to touch the artwork, and after rounding the corner it was obvious as to why.

We were gazing at some of the most beautiful blown glass that I have ever seen in my life. I mean, I’m not one to brag about all of my glass-blowing experiences, but we have all been down to the “Market” area of Charleston where they make funky candles and blow glass ornaments while you stand and gawk. Well, this stuff makes those glass blowers look like daggum child’s play. I was not aware that you could physically get the size, shape, and color manifestations that Dale Chihuly has achieved in his exhibition at the CMA. Mark explained the process of how to set up the exhibitions, how to set the lighting, and how even the colors on the walls are important to the overall experience. He answered all questions that we lobbed toward him, and he did so in a calm, knowledgeable manner that made us comfortable and contented. He described his concerns about when the show is open to “John Q. Public” on Thursday, how they go about making signs and tags about the artwork, and what still needs to be finished before opening night rolls around.

Mark and Leslie were able to answer all of our questions about the glass art exhibition, and then they led us through all of the other exhibit halls. They told us interesting stories about some of the most popular permanent pieces in the museum (ask Leslie about how a chandelier became a drag queen one evening), and showed us a “work in progress” that is just about to be re-set up in a few days.

Next, Mark took us to “the vault,” where the museum stores the permanent pieces in its collection. We entered a climate-controlled room in the catacombs of the museum where artwork, sculpture, and even pianos were being stored for future exhibitions. At this point, all of the new class felt at ease asking Mark and Leslie anything that we wanted to know about the museum, its contents, and how to go about enjoying a piece of art and what to look for when meandering through the museum. We were able to ask everything from what differentiates “real” art from “non-museum-quality” art to what is appropriate to wear to Thursday night’s opening gala. By the time Mark led us back up to the street level of the CMA, we all were grateful that he took his time and was so thorough with us in his tour. Leslie took us back to the lobby, where she briefly explained the benefits of becoming a member at the CMA (we will get more information on that next week) and more of what to expect and look forward to on Thursday night.

We concluded our evening back in the room where we began, by Katie rehashing what we did, what we will do, and figuring out where the “after party” was going to be held later that evening (the new Sheraton Hotel’s martini bar, located in the basement of the new hotel on Main Street). We left the museum feeling much more comfortable about how to go about attending an art show and feeling generally knowledgeable about what goes into putting on such an exhibit. I personally also left excited about telling my friends about the insanely impressive glass art that they will have to see and will be able to view on Thursday night and for the next two months in the main exhibition space at the Columbia Museum of Art. I even left my nametag on in case anyone wanted to know what I was doing at the museum after hours while I was walking to my car.

Trustus - Act 2

2008-03-19T08:36:00.000-07:00

It seems fitting that the last official behind-the-scenes meeting for the inaugural season of Columbia’s New Audience Road Show took place at Trustus Theatre. As our small group is like a band of explorers searching for the bastions of the Muses & Graces, Trustus is the full embodiment of that frontier and spirit as Columbia’s only professional theatre and a citadel in the Vista.

Before I begin to recount our second trip and last behind-the-scenes night at the theatre, I must confess something. I am not the kind of guy that likes to read entertainment reviews. It never fails an earnestly enthusiastic (or overly clever) writer/reviewer always drops a spoiler when you least expect it. Okay, I admit it, I still read ahead when Entertainment Weekly warns "SPOILER ALERT". It is impossible not to! But, still I genuinely enjoy being surprised from my entertainment. So, now having confessed my distaste of the spoiler, I was apprehensive to look behind the literal curtain at Trustus. Not out of the naïveté of disillusionment, but from genuine affection for the magic of the theatre, especially this theatre. Over the past few years, just a few of the memorable things I have seen from the audience include Snoopy die of rabies and Charlie Brown kiss a man in "Dog Sees God", a tabloid photo come to life in "Bat Boy", Sally Bowls belt out life is a "Cabaret", a "Dirty Blonde" declare, "Between two evils, I always pick the one I never tried before.", an icy shell of a mother forgive her child’s murderer in "Frozen", and Hedwig decry her angry inch.

So I came tonight to the second sneak-peek rehearsal of "Rabbit Hole" not wanting to spoil the mystique of what promises to be a compelling drama with realistic and bittersweet humor surrounding a family’s struggle to find balance after the loss of a child. NEWS FLASH – the play was not ruined. (That last sentence did not officially count as a spoiler, more like a side bar or some friendly reassurance.) We started the evening in the Black Box Theatre with a discussion, led by Chad Henderson, on the process of fully producing a play, and then we were able to watch rehearsal at a more advanced place than last week.

Chad is an innovative director ("Hedwig" & "Dog sees God"), Trustus Company Member, as well as an interesting and lively speaker. He took us from script selection, to choosing a director, casting actors, set design, lighting, stage manager duties, music, the rehearsal process and schedule, through opening night, the run, closing night, and then striking the set. (If you don’t feel like an insider you should now, striking means to take down the set and clean the theatre.) Chad answered questions and peppered the discussion with some pivotal lessons in the history of theatre and the more modern trends in the industry. After the discussion he led us in three activities or warm ups for rehearsals. First, we practiced a breathing exercise. Breathing can actually be hard when you do it and think it about it. Second, we danced in a circle as a mood elevator/humor inducing exercise. One person started the dance moves, (as extravagant and self-effacing as possible) then the group would follow the moves until the leader picked the next person to lead. Third and last, we gathered in a circle to practice "ZIP, ZAP, ZUP" a timing/improv activity.

After many laughs and a good round of applause we retired to watch a second rehearsal.
At this more advanced rehearsal all actors were "off book" (no longer reading or using the script for lines) and no requests for "line"s were needed. The costumer, Diane Wilkins, was there for some garment fittings, the stage manager, Becky Hunter, was busy making notes on cues and blocking. Jim Thigpen, the director, was giving feedback and notes to the cast. It was interesting to see the cast as their characters then leave character and gather round Jim to process his notes, share laughs and snacks. It was also amazing to hear Jim call out a fragment of a line and an actor rattled off the rest of the line (without the aide of the script). The play, which opens March 28th, promises to be an engaging and moving one. The actors, E.G. Heard, Vicky Saye Henderson, Kay Thigpen, Alec Grooms and Glenn Rawls are wonderfully cast and make their hard work seem effortless. David Lindsay-Abaire’s dialogue is seamlessly delivered by these stage veterans.

Because of my aversion to the spoiler I left before the final act was rehearsed so that I will be pleasantly surprised on opening night. Please join me at this wonderful cultural treasure we have to experience in Trustus. You come to the theatre to be entertained –to laugh, to cry, to dream, along the way you can be renewed, challenged, and inspired. Support this non-profit organization with your patronage. Travis

We had a good time - "trustus..."

2008-03-18T19:33:00.000-07:00

The "Roadies" hit the road again for the first time in over a month. It was great to see everyone again and our stop for March was Trustus Theatre located at 520 Lady Street in the Vista, opposite the Publix. We have created art, we have danced, we have learned what it is like to be part of a symphony and now we are immersing ourselves into the world of professional theatre. Yes – "professional" theatre! Trustus Theatre is the only professional theatre in Columbia and one of the few professional theatres in South Carolina. As a professional theatre Trustus is expected to meet a higher quality in everything that they do.

Trustus has certainly accomplished this and more since opening their doors in 1985. Jim and Kay Thigpen, co founders of the theatre, had a vision of a theatre providing all of the benefits of professionalism and none of the discomforts of a typical theatre. From the moment you walk in the door the differences can be seen and felt. Patrons can enjoy excellent acting coupled with the ability to have a beverage of choice and snacks while watching the show from very comfortable seating. Trustus provides many benefits to the community above excellent entertainment including workshops, youth theatre training, multiple levels of actors and companies as well as being very generous to the Columbia community with their time and talents.

Jim and Kay Thigpen provided a tour of the facilities which included their newly added office area along with a smaller theatre for children’s theatre and everyone’s favorite "late night" events. This week we will have the privilege of another visit where we will be able to once again enjoy watching the rehearsals for the upcoming Rabbit Hole, winner of the 2006 Pulitzer Prize for Drama and learn much more about a professional theatre. Sharon

The conductor wore chords

2008-02-04T07:25:00.000-08:00

Hi, I'm Katie. If you're a loyal follower of our Road Show exploits, you may remember that I manage the program. That might make it seem unfair that I get to do this roadie blog, but I have a really good reason for doing so: I'm pretty sure I knew less than the average roadie going into our visit with the SC Philarmonic. And, I work for the South Carolina Arts Commission.

Hi, I'm a poser.

We talked about symphonic music a lot in elementary school, which was the last time I had a music class. I remember that the sections are winds, brass, strings, and percussion. I do sometimes go to the SC Philarmonic, and have gone to symphony concerts in other cities, but I struggle to stay focused and follow the music. I drift off, thinking about everything from the architecture of the hall to what groceries I need to pick up. I've felt, in my adult life (ouch), that I could be getting a lot more from these experiences - if only I were smarter, knew more about music, hadn't quit piano lessons, took my aderal before performances - you get the picture.

Given the above, I found myself nearly begging the players and staff at the SC Philarmonic to teach me to follow the music and stay focused at concerts. I think what I have now is a way to understand what the conductor is doing (the right hand keeps the beat, the left hand coaches expression from the instruments), tell the difference between different pieces in the program (an overture is one long piece, a concerto is written with a huge solo for one instrument with the orchestra playing backup, and a symphony has four movements - the first sets the themes, which will repeat in the other movements, the second is usually slower, more somber, the third is commonly known as "the dance," livelier, and the fourth brings it all back together and knocks it out of the house), and better prepare myself for each concert (get there by 6:20 for the pre-show discussion, or at least early enough to read the program notes.)

So, now you know a lot of what I know, but the SC Philarmonic folks made the learning much more interesting than reading the previous paragraph probably was. We started with our visit with Doug and Petrea, which Alan did a great job blogging about a few weeks ago. Our second visit was at the Koger Center, when we were literally front and center at dress rehearsal with the players and Sarah Hatsuko Hicks, the week's new conductor search nominee.

Wicked cool. That's what it was. Sarah, dressed in curduroys, was coaching the players through the program for that evening. It was her first time conducting on the stage of the Koger, as the group rehearses in a different hall. There were final adjustments to be made - a little faster in the string sections on one piece, altering a piano to get a bell sound out of it for another. At one point our soloist for the evening's concerto came to the stage (in jeans), and everyone worked through the piece together. For a concerto, the conductor follows the soloist and the symphony follows the conductor. Our soloist, a student at Harvard, had her entire piece memorized, and it seemed at least 15 minutes long (which is plenty of time for me to make a mental grocery list, but I didn't. It was too interesting.) I had written to Sarah through myspace (who would have thought a conductor would have a myspace page?), and she knew we would be there and wanted to talk with the roadies. At the mid-rehearsal break, she came to the foot of the stage, sat down and asked us about the road show and took our questions. She was totally down to earth and made us feel completely comfortable. It was really great of her to take time for us, given her hectic schedule that day.

After a quick break we headed up to the first balcony for the rest of rehearsal, to hear the difference between the orchestra section (which is the fancy name for the floor of the Koger Center) and the balconies (most of the roadies preferred the acoustics in the balcony). We broke off for the afternoon, with plans to see each other at the concert that night.

We looked good Saturday night! I think everyone dressed up a little more for this concert than we have for our openings and performances at the Columbia Museum of Art, the Power Company, and the Nickelodeon. We ushered our guests to the first balcony, where a few rows had been set aside for us, and settled in for a concert that, for once, I knew a little something about. From the stage, Sarah shared the story of the "Blue Cathedral Overture," a piece written by her friend after the loss of her brother. Knowing the story helped us all hear the initial sounds of grief and longing, followed by hope, redemption, and, finally, peace. After the applause (and we all knew when to applaud, because we knew an overture had only one movement), Sharon and I looked at each other and said, simply, "that was so good."

The rest of the performance followed in that manner. At the end of the performance, standing in the lobby of the Koger, I felt something really different than I usually do after a performance. I felt like I had been given a really amazing gift; that they had played that performance just so I would know about that music and those stories. I heard a lot of similar comments from the roadies. It required us to take some time and learn a little more, and it required that the conductor and players make some time to help, but I think it was totally worth it.

This week (February 4-9), the next conductor search nominee is in town. He'll rehearse all week with the players, meet folks around town, and get a feel for Columbia. I'll be back at dress rehearsal Saturday morning with a few roadies (and you know we'll be comparing him to our new pal, Sarah). If you'd like to join us, send me an email at kfox@arts.sc.gov, and we might squeeze you in. You can also find more information about the conductor search by visiting scphilharmonic.com.

It's also about time to start the search for next year's roadies. Keep an eye on our myspace page (myspace.com/newaudienceroadshow) and the SC Arts Commission website, southcarolinaarts.com.
Thanks for everyone at the SC Philharmonic - we had a great time! Katie

Alan keeps the beat with the SC Philharmonic

2008-01-14T06:52:00.001-08:00

Walking into the USC School of Music I was greeted by Jason Rapp, the SC Philharmonic’s communication director, and told where to go. The room was in the basement and had stadium seating with room in the middle for the conductor and a piano. Rhonda Hunsinger, the executive director, and Jason then joined us on one side of the seating as musicians Douglas Graham and Petrea Warneck sat facing us with their respective instruments.

Doug, principal clarinetist of South Carolina’s Philharmonic Symphony, asked us to raise our right hand and keep along with the counts of an electronic BPM meter he had brought along to demonstrate the main task of a conductor. A one-two-three-four and a one-two three-four and again. I was doing poorly at this so I switched to my left hand, as most good lefties would do, and improved a tad.

Petrea Warneck, oboist for the philharmonic, and Doug proceeded to talk about reeds which both the oboe and clarinet rely on to produce sound. I learned a lot about these little suckers, like how much they cost, how little they last, and the importance of having a few of these tuned up and ready to go -- a lot like my Friday night choices for a date (j/k). Petrea sounded off first on her oboe with an especially difficult piece because of the notes being used and her control of air was spectacular. Doug also played a piece with the same kind of care and results.

With the philharmonic quickly narrowing down their candidates for the music directing gig, our guest conductor will literally be auditioning for us come January 19^th, 2008. The website shows she is one of seven talented conductors that are being considered, three of which have already auditioned. Could she be the one?

As if this wasn’t enough reason to anticipate the performance at the Koger, we are joined by the rising talent of 19 year old Rachel Lee on the violin. Her sound has been raved about by the Chicago Tribune and San Diego Daily Transcript. This Saturday night has all the makings of a ball! - Alan

“Neither a lofty degree of intelligence nor imagination nor both together go to the making of genius. Love, love, love, that is the soul of genius.”

Wolfgang Amadeus Mozart

Redwine and red wine at If ART

2007-12-12T15:00:00.000-08:00

Apparently, my mind is pretty sophomoric. When I heard that the Roadies would be venturing to a local art gallery called if ART, the first thing that came to mind was the humorous reference to flatulence. Come on, I’m not the only person who thought this! I quickly moved on to more mature thoughts about art galleries (I’m a grown-up, after all) … like the thought of how delicious the free wine would be once I arrived at the art gallery.

The wine was quite tasty, but I digress.

Local artist Anna Redwine is an MFA graduate from the University of South Carolina. She has a typical 9 to 5 job, but her true passion is in making visual art and utilizing it as her language with people (as contrast to the spoken word).

Redwine discussed her current series of artwork, which she put simply, "drawing life." Her drawings reflect her one-on-one moments with another living thing (ex. mosquitos, spiders, fish). She quickly explained that "drawing" doesn’t just mean to put pencil to paper, but to "extract" or "take in" the life that the other living being brings through their experience with her. The multiple drawings on one panel reflect a sense of movement. Once the moment with that living thing is gone (ex. the mosquito flies away), the experience is complete and the drawing is finished.

if ART owner Wim Roefs, who had graciously opened his gallery to us, talked to us about the challenges of getting people to recognize the value of purchasing art. Even though 10% of the general population may visit art galleries, only 2-3% of people from this sector are moderately serious about actually purchasing art. Roefs explained that the majority of his time is spent convincing people to recognize the value of purchasing art … and keeping artwork in his gallery on the minds of his potential buyers.

He told us about the market for art in Columbia, and explained that even art galleries in New York (which you may think has the art market tapped) have unique challenges in creating a distinction from the hundreds (thousands?) of other art galleries within the NYC.
Roefs discussed the relationship between gallery owner and artist and how he makes the distinction between "career artists" who have an authentic passion for making art as a form of expression and "Sunday artists," who tend to dabble in art every so often. Seeing as how I buy my art supplies on-sale at Kmart, I would probably fall into the second category.

I’m certainly no Anna Redwine.

Lauren

The Nick and Nan

2007-11-17T07:38:00.000-08:00

I set out on my Road Show journey on Tuesday as we all have before, not knowing what to expect. Heading down to the basement of the Nickelodeon Theater, I was warmly greeted with good company, home cooking and an ice-cold beer. While I knew this would not be an average movie experience, I did not realize this night would be my Road Show "ah ha" moment.

After dinner, Andy Smith, the Nick’s Director of Programming, gave us a brief history of independent film and the Nick. It’s hard to believe that a bed sheet screen hanging on the basement wall could morph into a venue that provided a movie experience like no other.

Our experience like no other was provided via Lost and Found from local filmmaker Betsy Newman. It is an extremely personal documentary about the search for Betsy’s sister Paula, who disappeared 33 years ago. Driven by a 1999 New York Times photo, we travel west with Betsy to San Francisco, seeking out a mentally ill woman whom she believes may be her missing sister. Her story not only grabbed me, but also shook loose feelings of hope, sadness, empathy, curiosity and pain. My perspective of independent film had changed – "ah ha". There was no scare factor, no political statement, no verbosity. It was a simple journey of sisterhood and lasting hope. We all have a Paula - someone we loved, lost, yet hold onto forever.

After the film, we had the pleasure of meeting Betsy Newman. She spoke of the filmmaking process and of what motivates and inspires filmmakers. They so often eschew popularity, and with it monetary gain, to share their experiences with the world. Betsy’s film is a gift, a contribution from pain and loss given to further our understanding of mental illness and homelessness.

After such seriousness, we sat down with Executive Director Larry Hembree, Andy and Betsy. They shared more about the Nick’s past, present and future and its role in the community. Not only does the Nick entertain, but it is also a non-profit which seeks to reach out and give Columbia a culture shot. Larry discussed the capital campaign efforts to raise $3 million for the refurbishing of the Fox Theater located on Main Street. The theater will not only have two screens for films, but will also provide educational programs and series.

On November 30 we will be viewing Lust, Caution and will enjoy an after party at the Fox Theater. I can’t wait to see the new digs and to continue my independent film experiences and "ah has". Thank you to Larry, Andy and Betsy for an enjoyable and educational night. Nan

We're at the Nick in November - Sharon blogs about our first visit!

2007-11-08T08:46:00.000-08:00

On a cool November night the "Roadies" made our first visit to Columbia's very own Art House Theater, the Nickelodeon. I settled into my comfy theater seat not knowing what to expect. Not knowing what to expect is a standard for our New Audience Road Show evenings. The uncertainty of the evening is one of the many fantastic aspects of this program!

We learned that there are less than 30 Art House Theaters in the US. Larry Hembree, Nickelodeon's Executive Director, welcomed all of the Roadies along with many theater patrons as this was a normal evening for business at the "Nick". The lights were dimmed and the movie began after the standard fare of previews. The film for the evening was an Indian film and the 2007 Berlin International Film Festivals winner for Best Debut Film, Vanaja. I am a very fascinated with the Indian culture. Growing up I had a very good friend that was Indian. I enjoyed spending time with her family, experiencing Indian cuisine, Indian music and art as well as the very popular "bollywood" films. Bollywood is the informal name given to the well known Mumbai-based Hindi-language film industry in India.

As the movie started I began to realize that this was not "one of those". I was quickly sucked in though and thoroughly enjoyed it. I will not give the details of the movie away so that anyone wishing to see Vanaja will still enjoy the movie. I will highly recommend the movie though! The audience is immediately charmed by the lead character, Vanaja, played by Mamatha Bhukya. She is a spirited young girl that ignores the chains of the caste system when dreaming of being a dancer. Anyone interested in more information should visit the following websites: www.nickelodeon.org or www.vanajathefilm.com .

After laughing, sniffling, feeling good and feeling bad during this brilliant film the Roadies headed downstairs below the Immaculate Consumption (a GREAT place for a cup of coffee!) to discuss the film and the Nickelodeon. Many of us recounted our first visits to the Nick. This is an amazing theater and seeing a film there is not just "going to the movies". As many people described their visits to the theater it became apparent that seeing a move at the Nickelodeon is really an "experience".

Larry and Andy Smith, Nickelodeon's Director of Programming, provided great insight into the theater's many programs, the process of selecting and acquiring films to be shown, their efforts in reaching out to the community and providing films to meet specific audiences as well as information regarding the new location in Columbia's old Fox Theater. There will be two screens in the new theater. This feature will provide great opportunity for showing a multitude of new films as well as providing the rare opportunity to enjoy film noir as one can only experience in a theater setting.

Next week the Roadies will return to the Nickelodeon to enjoy another film and learn more about the theater, how it is run and what their budget planning entails for 2008 among other topics. The Nick is a non-profit art house film theater run by the Columbia Film Society. It is the only theater of its kind in South Carolina. This is just one more of the rare jewels housed in the Columbia area!

To close I would like to say that the movie and the time spent with Larry and Andy was… well, Jhakaas! Sharon

Mayotard, not leotards - Brad blogs about the Power Company

2007-10-17T18:41:00.001-07:00

The Roadies were back on the campus of Columbia College Tuesday night for their encore experience with the Power Company, South Carolina's leading contemporary dance company. Thanks to Katie, we were given a full hour’s warning that there might be a little more body movement than the week before.

After a quick dinner of turkey and mayotard sandwiches with gallon-size cups of iced tea, we made our way back in to Martha Brim’s studio. We found out last week that Martha is the founder and artistic director of the Power Company. This week we would quickly discover that she is also a master of subtle persuasion. As Misty mentioned in the blog last week, the thirty foot wall of mirrors in the room can be quite intimidating for novice dancers like the Roadies. Martha reminded us that the people we see in the mirror are not ourselves, but our evil twin that can’t touch our dance skills. That mind trick was helpful at the time, but offered little comfort when I noticed the tripod and video camera hiding in the back corner.

Nevertheless, we threw caution to the wind, formed a circle and started moving. Without the shackles of rhythm or technique we creatively and fluidly moved our arms, shoulders, hips and feet through space. As the music began to play, we all somehow lost sight of the camera, the giant mirror, and the twenty-five people watching as we searched deep inside for our inner cowboy or cowgirl. Led by Martha and the Power Company apprentices, our circle began to rotate and swirl and our lasso-throwing, gun-slinging, and spurring evolved into a group interpretation of a bonfire as Johnny Cash’s "Ring of Fire" blazed in the background. Somehow, through the sweat and emotion, credulity set in and we failed to realize that we weren’t just dancing for our own enjoyment; we were auditioning for next week’s performance: Blaze! A Shakti Rodeo! Martha’s artful arm-twisting subdued the Roadie resistance and we agreed to perform under the lights next Friday night.

We moved upstairs to catch the real dancers for their last hour of rehearsal. They performed two dramatic numbers from the upcoming show that are in sharp contrast to the whimsical boot-scoot opener featuring the Roadies. The first was a number choreographed by former Power Company member Christian von Howard titled "In Memory of...." It powerfully illustrates the interpersonal relationships that flow through an individual’s life. The second dance they rehearsed was "Same Moon," an autobiographical piece written by current Power Company member Stephanie Wilkins. "Same Moon" dramatically captures the pain and sorrow caused by a broken relationship. Hearing the stories behind these two compelling pieces allowed us to go beyond mere observation and feel the emotions that the writers were trying to convey. A brief question and answer session with Martha and the Company furthered our appreciation for their work. Each of the members work a day job (and some work two!) in addition to the time they put in at the Power Company. They rehearse together two evenings a week year-round and practice solo sections in their limited spare time.

The experience Tuesday night brought home Martha’s statement from last week that everyone has within them the power to create dance. We learned that contemporary dance is as much or more about creative expression than it is about skillful technique. This was encouraging to us Roadies who, next Friday, will attempt to be as expressive as our two left feet will allow. For a great opening laugh followed by an entertaining and inspiring performance, come check out The Power Company’s performance of Blaze! A Shakti Rodeo! Brad

Misty blogs about our first stop with the Power Company

2007-10-10T05:40:00.000-07:00

So it is 5:50 pm and I am sitting at my desk trying to remember what I did with the directions to Columbia College, home of the Power Company, which happens to be the next stop on the Road Show tour. As I am changing into "comfortable" clothes I try to remember what Katie told us at our last meeting. She did say to wear "comfortable clothes" and NOT "shiny spandex" right? Or was it the other way around? I look at my exercise pants and try and convince myself they are nowhere near shiny spandex but deep down I am more concerned about what it is that I will actually be doing in these pants.

Let me go ahead and be honest with you, I am not a dancer. I don’t even come close to being a dancer. Most of the time I can’t even keep up with the "Rock your Body" cardio dance mix workout DVD that I OWN. In fact, all I know about dancing is what I have seen over and over again on the movie "Center Stage" and the "inspirational" dancing that occurs after a couple of beers with friends during late night karaoke. Regardless of my dancing capabilites or lack thereof I have to be at the college in a couple of minutes wearing my "comfortable" clothes and it is quite possible that we might have to "participate" in tonight’s event.

After we meet up on the campus for dinner we walk over to the dance studio to meet up with our hosts for the evening. We take off our shoes, enter the studio and sit with backs facing the "Wall of Mirrors" (thank goodness because I am tired of worrying about these pants and how I look in them). It is here that we meet the founder and director of The Power Company, Martha Brim. Martha, who is very excited that we joined her tonight, is joined by a small group of younger women. She explains to us that The Power Company comprises of a body of professional dancers but also a handful of apprentices. The apprentices are mainly of college students who are working toward their BFA in Dance Performance and Choreography; they are also joined with junior apprentices, usually high school aged students, who happened to be working with the company tonight. Not long after Martha begins to tell us the story behind The Power Company I can hear the actual sounds of the company practicing above me.

Martha tells us that The Power Company, which started about eight years ago, brings a very different type to dance to our city of Columbia. I mean have you ever heard of a director trying to explain to the dancers how to move like "amoebas" through a "smokestack"? The Power Company itself is a completely different venue. The company gives not only Brim but other contemporary choreographers’ the chance to showcase their innovative dance productions to a large audience. It is also a great resource for students, considering that it is housed on the grounds of Columbia College and Martha Brim has been a professor of dance at the college for about 25 years.

As far as the art of Dance is concerned, I learned a couple of things. First of all there are four things that you need to remember about contemporary dance: Bodies, Moving through space, Effort and Time (or as fellow roadie, Andria, pointed out "BMET".) Brim explains to us that it takes each of these elements working together to create contemporary dance. Here is a really rough breakdown: It is the action of our BODIES which MOVE through space, the EFFORT used in that space plus the measurement of TIME, or pace/rate of movements, that creates the dance. No dance can possibly be the same because everybody creating the "dance" sees and feels in a different way. Brim points out to us that we all posses the power to create dance. The tricky part is learning to harness the ideas and meld them together with physical realities. For example: I have this music, this type of costume, this idea and this deadline - what is it that I can create? She admits that having a deadline always makes creating the "dance" a little easier. It is after rounds of questions about origins of contemporary dance, how the dancers are chosen, who choreographs what, where they get their music and what exactly is "Shakti" that Brim asks us to spread out. Here it comes, the moment we’ve al been waiting for..our participation in tonight event. The next thing you know everyone is doing a little ditty to Johnny Cash’s Ring of Fire and the room becomes filled with continuous laughter. I don’t know about everyone else but I was certainly enjoying myself. Who knew this could be so much fun?

Next we move upstairs to meet the dancers who will be performing in this year’s annual cabaret. With a name like: Blaze! A Shakti Rodeo how can you possibly go wrong? As we moved into our seats the dancers were working on the last piece of the cabaret’s showcase, called OA. (which stands for Orgone Accumulator, which I recommend you look up online). It was so amazing to watch them move with such fluidity. Brim had explained to us earlier that the "Shakti Rodeo" idea had come to her because she wanted to showcase the fluidity of "shakti" - force/energy - through the different senses and ways that movement that can be produced. Even though Brim told us that the dancers were still very much in the creating process of the piece I was astounded at how everything they did seemed effortless whether it was lifting, rolling or swaying in unison with one another. It was absolutely incredible! Next thing you know it is 9:15pm and I am still trying to figure out they’re counting patterns, plus how do they know where to be at what point in the song to meet up with their partners? It seems so complicated.

How do they do it?! I guess I will have to wait until next week to find out. Stay tuned. PS be sure to check out more info about The Power Company and the different dancers on their website: http://www.thepowercompany.org/

Katherine blogs - we're back at the museum!

2007-09-12T17:56:00.000-07:00

On Tuesday, September 11^th, the Roadies made their second trip to the Columbia Museum of Art to get a taste of the behind the scenes work and dabble in the arts 3D style. And, I think the Roadies will all agree that the second art museum adventure was just as amazing and awesome as the first!

We started off the evening with a tour of the basement, which in an art museum is not a location to be scoffed at one bit. Todd Herman, chief curator and curator of European art, was our tour guide. Our first stop was the workshop where art crates, art supports, frames, and picture mats are made when needed. Next, we traveled down the hall and around a few corners to the “mock set-up” and de-accession room. In the “mock set-up” area, staff will unpack 3D works of art like plates, bowls, figurines, etc. and arrange them how they might appear in a case in the upstairs gallery. This process is more efficient then hauling all of the works of art upstairs and then trying to figure out how to best arrange them. In the de-accession area, staff place works that have been damaged or works that will most likely never be shown. The purpose of this process is to remove works that are only taking up space within storage because they cannot be shown due to quality or due to the particular taste of the art museum visitors. Some of these works are sold at auctions. Todd told us that this process is controversial because some feel that once a piece is bequeathed or donated to a museum they should always keep it. Others feel that even though some works have gone out of style they might come back into style years down the road; so, an art museum should not risk the chance of getting rid of anything.

After finding out that the value of an artist’s proof and the number of a print don’t affect the value of the work, we headed into the storage room. This room is quite expensive to maintain because the temperature and humidity have to be constantly monitored and kept at certain levels to preserve the 6,000 pieces of art that are housed there. First, Todd showed us the row of metal art racks on which pictures are hung. He pulled one rack out, and there was what looked like Henry VIII looking back at us! Then we moved over to the cabinets that house 3D art. Todd opened the top doors to reveal figurines and vases; then he pulled open one of the sliding trays to reveal rows of saucers. Every single piece of the museum’s collection is cataloged by the year it was received and the order of which it arrived that year.

We then moved over to the drawers where paper works are stored. Todd explained the importance of using acid-free paper and mate to conserve works. He advised us to keep paper works out of intense light because the colors, especially green and red, will fade over time.

With not much time left in the tour, Todd led the group upstairs to the exhibit gallery. We got a sneak peak at the Seeing Ourselves exhibit that’s scheduled to open to the public on September 14^th. Todd explained the tedious process of deciding how to arrange the works in terms of theme and size. He noted that the best gallery design is one that is not noticed because it just flows naturally.

Now it was time to create art! The first step was to take a sketch book to the collection gallery and sketch a pattern that caught our eye. This pattern would then be translated onto terra cotta clay that would be covered with plaster to make a 3D object. We were intensely examining picture frames, statues, and paintings when the lights went out. The security guard didn’t realize we were all still in the museum, so he was closing shop. But, he came to the rescue.

We then headed to the workshop and re-created our patterns in the clay. After the clay was layered with oil and covered with a plaster mix resembling a watery-Frosty, we were done!

What have I learned from Columbia’s New Audience Road Show’s stop at the Columbia Museum of Art? I’m reminded of a quote I once read by Patrick Mimran: “Art is not where you think you’re going to find it.” I feel that I have a greater appreciation and understanding of not just the Columbia Museum of Art but of art museums in general. I found it fascinating to learn about the significance of every choice the Museum makes. There’s art in planning and managing the facility. There’s art in handling a calendar that plans 5 years in advance. There’s art in delivering works of art and determining the best way to display them. There’s art in teaching art classes with students of various degrees of experience. The masterpiece that the Columbia Museum of Art staff creates was unseen by me before this Road Show stop. But, as Todd said, the best design is one which you don’t notice; what you notice instead is the actual art on display.

Several new memberships to the Museum, including mine, were inspired from this Road Show stop. There is so much the Museum offers, and every visit promises to hold new discoveries. So, I encourage you to visit the art museum and pay attention to the detail of the art, of the building, and of the layout. Enjoy the whole experience! Katherine

Lindsay blogs about the Columbia Museum of Art!

2007-09-05T15:38:00.000-07:00

The Columbia Museum of Art offers more than I ever thought. . . this is truly a place not to be missed! We had the opportunity to not only view the different galleries but also become familiar with the structure of the building. Taking a tour with Joelle taught us the beginnings of analyzing paintings through lines and shading. In addition to viewing some amazing Renaissance pieces, Joelle informed us as to how the architecture of the building truly effects the exhibits and potential future shows.

Behind the scenes of The Columbia Museum of Art is truly amazing; from the planning aspect for various exhibits (did you know that the museum typically plans three years in advance?) to the building’s layout. One of the most interesting aspects of the tour was standing on the roof of the building and discussing how the walls, roof, and HVAC system make an impact on the museum. The museum is much larger than I ever expected; future plans include an expansion into currently unused portions of their space.

Once getting down from the roof, we had the opportunity to discuss a future exhibit entitled Seeing Ourselves. Currently, the behind the scenes work is underway, including choosing appropriate wall color and laying out the photographs. The show is divided into five subjects and will open on Thursday, September 13th, 2007.

After the grand tour was over, we had an opportunity to make our own prints with fish molds. I was a bit worried about an "art project" since I am not an artist. However, this was an attempt in trying something new. I enjoyed making a few prints and plan on framing one of the two. (Hey, it’s my first piece of artwork since elementary school!) The group enjoyed becoming more hands-on and this opportunity was not missed by a single member.

So, what have we learned so far from Columbia’s New Road Show? The Columbia Museum of Art is constantly evolving, pushing the borders of its audience through various mediums that are meant to challenge your mind and spirit. So get out there and challenge yourself! Lindsay

The Road Show Launches this Tuesday!

2007-08-31T12:13:00.000-07:00

Hey All,

Columbia's New Audience Road Show kicks off our tour of the capital city's arts offerings this Tuesday, September 4. We're starting by going behind the scenes with the Columbia Museum of Art. Check the blog regularly, as different roadies will blog about their experience in the Road Show.

Columbia's New Audience Road Show is a program of the South Carolina Arts Commission.