{"id":26152,"date":"2017-10-12T17:44:14","date_gmt":"2017-10-12T21:44:14","guid":{"rendered":"http:\/\/kennetttimes.com\/?p=26152"},"modified":"2017-10-12T17:44:18","modified_gmt":"2017-10-12T21:44:18","slug":"on-stage-pa-ballet-opens-with-sleeping-beauty","status":"publish","type":"post","link":"https:\/\/kennetttimes.com\/?p=26152","title":{"rendered":"On Stage: Pa. Ballet opens with Sleeping Beauty"},"content":{"rendered":"

By Denny Dyroff<\/strong>, Staff Writer, The Times<\/em><\/p>\n

\"\"<\/a>The Pennsylvania Ballet\u2019s opening production of its 2017-2018 season is \u201cThe Sleeping Beauty,\u201d which is a bit ironic considering that the company has been anything but sleeping in recent years under the guidance of Artistic Director Angel Corella.<\/p>\n

\u201cThe Sleeping Beauty\u201d opens on October 12 and runs through October 22 at the Academy of Music (Broad and Locust streets, Philadelphia, 215-731-3333, www.kimmelcenter.org<\/a>).<\/p>\n

\u201c\u2018The Sleeping Beauty\u2019 is one of the most popular ballets in our repertoire \u2013 and it has some of the best music,\u201d said Corella, during a phone interview Thursday afternoon from the Academy of Music.<\/p>\n

\u201cI wanted to open the season with something very recognizable and good for the whole family. A great way to open the season is to open with a production that is good for the entire family. It\u2019s a fairy tale that everybody recognizes and it\u2019s a great show for the dancers.\u201d<\/p>\n

When \u201cThe Sleeping Beauty\u201d was first performed more than a century ago, it was called \u201c\u0421\u043f\u044f\u0449\u0430\u044f \u043a\u0440\u0430\u0441\u0430\u0432\u0438\u0446\u0430\u201d (Spyashchaya krasavitsa) \u2013 the ballet\u2019s title in Russian.<\/p>\n

The ballet, which has a prologue and three acts, was first performed at the Mariinsky Theatre in St. Petersburg, Russia in 1890.<\/p>\n

The music was composed by Pyotr Ilyich Tchaikovsky. The original scenario was conceived by Ivan Vsevolozhsky, and is based on Charles Perrault\u2019s \u201cLa Belle au bois dormant.\u201d The choreographer of the original production was Marius Petipa.<\/p>\n

This full-length ballet, which was originally choreographed by Marius Petipa in 1890, takes on new life as Corella stages the choreography of this classic tale.<\/p>\n

\u201cOur production is based on the choreography of Petipa,\u201d said Corella. \u201cBut, dance has evolved a lot since then \u2013 dancers have evolved. They jump higher, turn more and lift their legs higher. We incorporate this into our choreography.\u201d<\/p>\n

Audiences at the Academy of Music will be able to follow the journey of Princess Aurora as she is put under an evil curse that can only be broken by a true love\u2019s kiss.<\/p>\n

Beautiful costumes, lavish set designs, new choreography and the mesmerizing Tchaikovsky score will draw audiences into this beautiful journey to happily ever after.<\/p>\n

\u201cThere are 300-something different roles in this ballet,\u201d said Corella. \u201cIt is very comprehensive. Everyone gets a chance to shine. It\u2019s a really fast, energetic ballet \u2013 and it\u2019s easy to follow.<\/p>\n

\u201cIt\u2019d almost like a Broadway show. We\u2019re trying to reach people who think ballet is old-fashioned and boring. This is like a Broadway show without the singing. Everything else is there.\u201d<\/p>\n

Video link for \u201cThe Sleeping Beauty\u201d — https:\/\/www.facebook.com\/pennsylvaniaballet\/videos\/10154994028795382<\/a>.<\/p>\n

The schedule of performances is: 7:30 PM | Thursday, October 12; 7:30 PM | Friday, October 13; 2:00 PM | Saturday, October 14; 7:00 PM | Saturday, October 14; 2:00 PM | Sunday, October 15; \u00a07:30 PM | Friday, October 20; 12:00 PM | Saturday, October 21; 5:00 PM | Saturday, October 21; and 2:00 PM | Sunday, October 22.<\/p>\n

Ticket prices range from $35-$149.<\/p>\n

\"\"<\/a>

Tommy Castro<\/p><\/div>\n

Award-winning guitarist\/vocalist Tommy Castro and his band The Painkillers will return to this area for a show on October 12 at the Sellersville Theater (24 West Temple Avenue, Sellersville, 215-257-5808,\u00a0www.st94.com<\/a>).<\/p>\n

\u201cWe\u2019ve played the Sellersville Theatre a number of times and always had a lot of fun,\u201d said Castro, during a recent phone as he traveled from Kent, Ohio to a show in New York City.<\/p>\n

\u201cIt\u2019s a great place to play. We\u2019re looking forward to it. It has good sound, good food and great audiences. We always had good shows there\u201d<\/p>\n

Tommy Castro & The Painkillers are currently on tour in support of their latest album, \u201cStompin\u2019 Ground.\u201d<\/p>\n

\u201cI wouldn\u2019t dream about coming out on tour without something new,\u201d said Castro. \u201cI started working on the album before the last tour and then scheduled the album for release this fall.<\/p>\n

Guitarist, vocalist and songwriter Castro and the Painkillers outdid themselves. Each song on \u201cStompin’ Ground\u201d shows a slightly different side of Castro\u2019s multifaceted musical personality.<\/p>\n

On \u201cStompin\u2019 Ground,\u201d Castro opens windows both into his past and his always-evolving musical future.<\/p>\n

\u201cI recorded the album in May and June,\u201d said Castro. \u201cI had ebeen working on songs since the beginning of the year and I had this little window of time.<\/p>\n

\u201cI gave Kid Andersen a call. I wanted to make the album at Andersen\u2019s Greaseland Studio in San Jose. I felt that Kid could help me make a good blues record.<\/p>\n

\u201cThe main thing about Greaseland was Kid. I knew him well. And, I knew his ability as a guitarist. I know he\u2019s coming from a good place. His knowledge of music is really deep. It was a really good match.<\/p>\n

\u201cThe studio has lots of vintage guitars and amplifiers \u2013 and a baby grand piano in the kitchen. Everything there is vintage but we did user ProTools rather than tape. We had a blast. The production is really great on the album.\u201d<\/p>\n

\u201cStompin\u2019 Ground\u201d includes 12 tracks featuring seven originals and new versions of songs Castro learned and played as a young up-and-comer.<\/p>\n

\u201cIt\u2019s part of my story when I was growing up \u2013 what it was like growing up in San Jose, California,\u201d said Castro.<\/p>\n

\u201cIt\u2019s a tribute to the music I listened to when I was growing up \u2013Elvin Bishop, Taj Mahal, Delaney & Bonnie. I thought I should pay homage to the artists that influenced me. I didn\u2019t want all covers so I split it up.\u201d<\/p>\n

Castro has released 16 albums in the last 21 years. His most recent albums have been released on Alligator Records \u2013 the label he has been with since 2009.<\/p>\n

Over the course of his four-decade career, Castro, who is a six-time winner of the prestigious Blues Music Award-winner, has played thousands of shows to hundreds of thousands of fans.<\/p>\n

Castro, one of San Francisco\u2019s veteran music acts, has put together a top-flight band. The Painkillers feature bassist Randy McDonald, keyboardist Michael Emerson and drummer Bowen Brown.<\/p>\n

\u201cI started the Painkillers about four years ago,\u201d said Castro. \u201cRandy (McDonald), who has been with me for over 25 years. My music isn\u2019t so much about guitar as it is about songs. I\u2019m probably more a singer than a guitar player. I like a good hook and I want songs that people remember.<\/p>\n

\u201cThe opening act for the show is Ronnie Baker Brooks and his legendary R&B Review. He\u2019s one of the greatest guitarists who ever lived. And so was his dad \u2013 Lonnie Brooks.\u201d<\/p>\n

Video link for Tommy Castro — https:\/\/youtu.be\/JG2y7yEd3us<\/a>.<\/p>\n

The show in Sellersville, which has Ronnie Baker Brooks opening, will start at 8 p.m. Tickets are $29.50 and $45.<\/p>\n

Other upcoming shows at the Sellersville Theater are Barleyjuice<\/a> and Karmic Repair Company<\/a> on October 13, The Diamonds on October 14, Red Molly on October 15, Nick Lowe<\/a> and Cut Worms<\/a> on October 16, The Bobs: Farewell Tour<\/a> on October 17, and Wayne Hancock and No Good Sister on October 18.<\/p>\n

\"\"<\/a>

Christian Lopez<\/p><\/div>\n

Christian Lopez, who will play a show with his band at the Barbary (951 Frankford Avenue, Philadelphia, 215-634-7400, www.facebook.com\/thebarbary<\/a>) on October 12 may look young \u2013 but he certainly doesn\u2019t sound young.<\/p>\n

Lopez is a 22-year-old with the soul of a 65-year-old Appalachian mountain musician hidden away inside \u2014 steeped in the roots of his West Virginia upbringing on the shores of the Potomac River in the Eastern Panhandle of the state.<\/p>\n

On his debut album \u201cOnward,\u201d he emulated the sound produced by the region\u2019s resident pickers and strummers and wrote all but one of the songs on the disc. Some of the key tracks are \u201cLeaving It Out,\u201d \u201cSeven Years,\u201d \u201cMorning Rise\u201d and \u201cOh Those Tombs.\u201d<\/p>\n

In September, Lopez released his sophomore album \u201cRed Arrow.\u201d<\/p>\n

\u201cI toured \u2018Onward\u2019 from the moment it came out all the way until the new record came out,\u201d said Lopez, during a recent phone interview from his home in Martinsburg, West Virginia.<\/p>\n

\u201cIt was pretty constant. It\u2019s the only way to keep the momentum going \u2013 and to keep gas in the tank. It was really grass roots. Being a young dude with an indie album in Americana, I worked really hard to build a fanbase.\u201d<\/p>\n

For his first album, Lopez connected with Grammy-winning producer Dave Cobb in Nashville. Two years later, Lopez decided to explore different paths for his sophomore project.<\/p>\n

Over nine months, he tempered the intuitive approach he had cultivated for \u201cOnward\u201d with a more measured process, beginning with the careful selection of producer Marshall Altman.<\/p>\n

According to Lopez, \u201cIt was almost like a science experiment. But that\u2019s what I thought recording would be like when I was a kid \u2014 a work of art rather than just throwing together a bunch of songs.\u201d<\/p>\n

The songs, too, were different. His recent works reflected a more perceptive view of the world as well as a greater self-awareness.<\/p>\n

\u201cI started writing songs for \u2018Red Arrow\u2019 about a year after \u2018Onward was released,\u201d said Lope. \u201cI also had a few songs that had been in my pocket for a while.<\/p>\n

\u201cI spent time in Nashville and made some good friends \u2013 and that led to some co-writing. I started pre-production for \u2018Red Arrow\u2019 in October 2016 and started the actual production side of things in February 2017.<\/p>\n

\u201cI finished making the album in May. I recorded the album at Blackbird studio and with producer Marshall Altman at his studio \u2013 the Galt Line Studio.<\/p>\n

\u201cThere are 11 tracks on the album. Two were solely written by me and nine with collaborators. In our live show, we put at least eight in every night. We also play a lot of songs from \u2018Onward.\u2019 The tour cycle for the new album began two weeks ago.\u201d<\/p>\n

Lopez is young but has been making music for a long time.<\/p>\n

\u201cMy mom started me on piano when I was five years old,\u201d said Lopez. \u201cBut, I didn\u2019t really get into music until my dad gave me his classic rock album collection when I was 13.<\/p>\n

\u201cHe knew I loved music and they were sitting in a storage unit not being used. That music started to really hit me. I grew up a crazy AC\/DC fan and Creedence fan. I was into a lot of 80s bands a lot of hair metal.<\/p>\n

\u201cAt the same time, I loved The Band. They made me pick up acoustic guitar. I was also into Willie Nelson, the Outlaws, Johnny Cash and Waylon Jennings. I was on a folk rock\/country\/folk path.\u201d<\/p>\n

Before long, Lopez was making his own music.<\/p>\n

\u201cI was around 15 when I started to write songs,\u201d said Lopez. \u201cI always sort of had a band in my head when I was writing the songs.<\/p>\n

\u201cJoe Taxi was my first band. We started to travel and get some gigs. We even got a spot on the Warped Tour. Later, those two guys left and I put together the Christian Lopez Band.\u201d<\/p>\n

Video link for Christian Lopez Band \u2014 https:\/\/youtu.be\/mAbQdoPzke4<\/a>.<\/p>\n

The show at The Barbary, which also features Apache Trails and Jesse Ruben, will start at 8 p.m. Tickets are $10.<\/p>\n

\"\"<\/a>

Victoria Healy of \u201cFunny Girl.\u201d<\/p><\/div>\n

If the only thing you know about \u201cFunny Girl\u201d is Barbra Streisand\u2019s all-time classic hit \u201cPeople,\u201d then you owe it to yourselves to check out the current production of the musical \u201cFunny Girl\u201d at the Candlelight Theatre (2208 Millers Road, Arden, Delaware,\u00a0302- 475-2313,\u00a0www.candlelighttheatredelaware.org<\/a>).<\/p>\n

The comfortable dinner theater just over the state line, which is known for its high-quality productions and its gourmet dinner buffet, is presenting \u201cFunny Girl\u201d now through October 22.<\/p>\n

\u201cFunny Girl\u201d is a 1963 musical that opened on Broadway in 1964 and featured a book by Isobel Lennart, music by Jule Styne, and lyrics by Bob Merrill.<\/p>\n

The semi-biographical plot is based on the life and career of Broadway star, film actress and comedian Fanny Brice featuring her stormy relationship with entrepreneur and gambler Nick Arnstein. Its original title was My Man.<\/em><\/p>\n

The musical was produced by Ray Stark, who was Brice\u2019s son-in-law via his marriage to her daughter Frances, and starred Barbra Streisand. The production was nominated for eight Tony Awards. The original cast recording of \u201cFunny Girl\u201d was inducted into the Grammy Hall of Fame in 2004.<\/p>\n

The talented cast is headed by Candlelight veteran Victoria Healy in the role of Fanny Brice.<\/p>\n

Healy has played major roles in many of the theater\u2019s well-received productions, including Tzeitel in \u201cFiddler on the Roof,\u201d Penny in \u201cHairspray,\u201d Frau Blucher in \u201cYoung Frankenstein,\u201d and Olive in \u201cSpelling Bee.\u201d<\/p>\n

None of them has been as big \u2013 or as important to the production \u2013 as Fanny in \u201cFunny Girl.\u201d Healy\u2019s comedic skills shine in the funny-yet-touching musical.<\/p>\n

\u201cThis is one of the most awesome roles I\u2019ve ever had,\u201d said Healy, during a recent phone interview from her home in Wilmington. \u201cAudience reaction has been great. It\u2019s overwhelming \u2013 in a wonderful way.\u201d<\/p>\n

The show revolves around fanny, who is rarely off the stage. It\u2019s a situation that can put a lot of pressure on the actress playing the role.<\/p>\n

\u2018It\u2019s the largest role I\u2019ve played,\u201d said Healy, who is a theater teacher at Tower Hill School and a field hockey coach at her alma mater Ursuline Academy.<\/p>\n

\u201cBut, I wouldn\u2019t say I feel pressure. I\u2019d say there is a responsibility for me \u2013 a responsibility to stay healthy and focused.\u201d<\/p>\n

\u201cFunny Girl\u201d is something new for Healy.<\/p>\n

\u201cI had never seen the show before,\u201d said Healey. \u201cI did watch the movie to get ready for the audition. I was familiar with some of the music because it\u2019s classic.<\/p>\n

\u201cWatching Streisand in the movie was good to see \u2013 her energy and her comedy. But, the movie is quite different from the show. I watched the movie once and that was it.\u201d<\/p>\n

Healy had no trouble relating to Fanny Brice.<\/p>\n

\u201cThere are bits of Fanny that are like me,\u201d said Healy, who received her B.F.A in Drama from NYU\u2019s Tisch School of the Arts.<\/p>\n

\u201cI like her drive. She\u2019s very determined. Like me, she doesn\u2019t look like other actresses so she used comedy to get accepted. She\u2019s very energetic.<\/p>\n

\u201cI love the dramatic aspect of the show and the fact that she grows up throughout the shop. And, I like the ending. I like that they stuck to what happened in her life \u2013 and that, at the end, she still has the determination.\u201d<\/p>\n

Performances are Friday and Saturday evenings (doors 6 p.m.\/show, 8 p.m.) and Sunday afternoons (doors, 1 p.m.\/show, 3 p.m.). Tickets, which include dinner and show, are $59 for adults and $33 for children (ages 4-12).<\/p>\n

People in this area should be fairly familiar with punk rock \u2013 unless they\u2019re over 50 and have never had kids or grandkids.<\/p>\n

People in this area are probably not familiar with cumbia \u2013 unless they are of Mexican-American lineage or have spent time in the Southwest or Southern California.<\/p>\n

Cumbia is a dance-oriented music genre popular throughout Latin America. It began as a courtship dance practiced among the African population on the Caribbean coasts of Colombia and Panama.<\/p>\n

\"\"<\/a>

Thee Commons<\/p><\/div>\n

It later mixed with Amerindian and European instruments, steps and musical characteristics and then spread throughout Latin America. Cumbia has grown to be one of the most widespread and unifying musical genres to emerge from Latin America.<\/p>\n

If you want the best of both music styles \u2013 with a little bit of psychedelia thrown in \u2013 then you should take a listen to the music of Thee Commons.<\/p>\n

Thee Commons, who are playing on October 12 at MilkBoy Philly (1100 Chestnut Street, Philadelphia, 215- 925-6455, www.milkboyphilly.com<\/a>), are a critically-acclaimed East L.A. psychedelic cumbia-punk trio.<\/p>\n

The group features brothers David and Rene Pacheco on guitar and drums, respectively, and bassist Jose Rojas. The trio\u2019s music blends the \u201cCHICH-chich-a-CHICH-chich-a-CHICH\u201d of cumbia with the crunching guitar and bass of punk rock.<\/p>\n

\u201cDavid and I have been jamming out since before we could even play instruments,\u201d said Rene Pacheco, during a phone interview Tuesday afternoon.<\/p>\n

\u201cWe were just banging on pots. Later, I got my own drum kit and we started playing in a couple bands together. We played our first show as Thee Commons in February 2102 \u2013 even though we didn\u2019t have the name yet.<\/p>\n

\u201cIt\u2019s always been a three-piece although in later years we\u2019ve added a horn for some gigs. When we started, we played mainly in East L.A. and neighboring areas like Orange County and Echo Park.\u201d<\/p>\n

The band\u2019s name used \u201cThee\u201d as a tribute to Thee Midniters, the groundbreaking\u00a0\u201960s Chicano rock band from East L.A., and to\u00a0\u201970s Latino street gangs. The \u201cCommons\u201d part of their name is \u201can area in which we share a musical palette of sounds.\u201d<\/p>\n

\u201cWe wanted to reach out to different audiences,\u201d said Pacheco. \u201cMusically, we started as garage-punk. Then, we heard this album \u2018Roots of Chica,\u2019 and that created a big stir. It was Peruvian chica with guitar and organ \u2013 very dramatic. We were riveted by this album and tried to emulate it. Then, our dad told us we should check out cumbia music from Mexico. We really liked it. I stared to translate the organ sound from cumbia to guitar. We grew up with Mexican music. It was the soundtrack to our childhood. We also liked Orange County punk shows in D.I.Y. spaces. At first, when we started to play thee, we were outcast a little because we hadn\u2019t fully developed our sound. It took us about three years tpo formulate our sound to translate to both communities.\u201d
\nThee Commons are now touring in support of their recently-released album \u201cPaleta Sonora.\u201d<\/p>\n

\u201cWe recorded the album in January,\u201d said Pacheca. \u201cSince then, we\u2019ve already recorded another album. We recorded \u2018Paleta Sonora\u2019 at One Take Studio in san Pedro. We recorded 18 songs in four days.\u201d<\/p>\n

Video link for Thee Commons — https:\/\/youtu.be\/qmyHdQPQ738<\/a>.<\/p>\n

The show at MilkBoy Philly, which has Suburban Sensi as the opener, will start at 8:30. Tickets are $12.<\/p>\n

Other upcoming shows at MilkBoy are Andy Frasco & The U.N. on October 13, Andrew Belle on October 14, MC Lars + MC Frontalot <\/a>on October 15, and The Weeks on October 18.<\/p>\n

\"\"<\/a>

The Flamin’ Caucasians<\/p><\/div>\n

Kennett Flash (102 Sycamore Alley, Kennett Square, 484-732-8295,\u00a0http:\/\/www.kennettflash.org<\/a>) will present Better Than Bacon Improv Comedy<\/a> on October 12, The Flamin’ Caucasians & Bill Currier – CD Release Party<\/a> on October 13, Hello, I Must Be Going! – A Tribute to Phil Collins<\/a> on October 14, and Open Mic with Matt Sevier<\/a> on October 15.<\/p>\n

The Steel City Coffee House (203 Bridge Street, Phoenixville, 610-933-4043, www.steelcitycoffeehouse.com<\/a>) will host Gabrielle Louise with guest Cindy Alexander on October 13 and Julian Velard with Nick Nace on October 14.<\/p>\n

Burlap & Bean Coffeehouse (204 South Newtown Street Road, Newtown Square, 484-427-4547,\u00a0www.burlapandbean.com<\/a>) will present Eliot Bronson and Caleb Caudle on October 13 and Katherine Rondeau and The Show with Chikabiddy on October 14.<\/p>\n","protected":false},"excerpt":{"rendered":"

By Denny Dyroff, Staff Writer, The Times The Pennsylvania Ballet\u2019s opening production of its 2017-2018 season is \u201cThe Sleeping Beauty,\u201d which is a bit ironic considering that the company has been anything but sleeping in recent years under the guidance of Artistic Director Angel Corella. \u201cThe Sleeping Beauty\u201d opens on October 12 and runs through […]<\/p>\n","protected":false},"author":1,"featured_media":26154,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7529],"tags":[6721,6518,9567,7072,9568,9566],"class_list":["post-26152","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-d-arts-entertainment","tag-christian-lopez","tag-featured","tag-funny-girl","tag-pennsylvania-ballet","tag-thee-commons","tag-tommy-castro"],"_links":{"self":[{"href":"https:\/\/kennetttimes.com\/index.php?rest_route=\/wp\/v2\/posts\/26152","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kennetttimes.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kennetttimes.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kennetttimes.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kennetttimes.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=26152"}],"version-history":[{"count":1,"href":"https:\/\/kennetttimes.com\/index.php?rest_route=\/wp\/v2\/posts\/26152\/revisions"}],"predecessor-version":[{"id":26153,"href":"https:\/\/kennetttimes.com\/index.php?rest_route=\/wp\/v2\/posts\/26152\/revisions\/26153"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kennetttimes.com\/index.php?rest_route=\/wp\/v2\/media\/26154"}],"wp:attachment":[{"href":"https:\/\/kennetttimes.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=26152"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kennetttimes.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=26152"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kennetttimes.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=26152"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}