Often, during the Sydney Dance Company’s “2 One Another” at Mandeville Auditorium on Saturday, I wished I could be seeing the piece in rehearsal. I wanted to focus on the movement, free from the sometimes bombastic music and over-bright, hyperactive lighting. Sensory overload may be just what artistic director/choreographer Rafael Bonachela had in mind.
Musicians from the Silk Road Ensemble brought their infectious musicianship to La Jolla’s Sherwood Auditorium Sunday (Oct. 20), spreading their gospel of global harmony through virtuoso collaboration. The traditions and instruments of Japan, China, Persia, India, Spain and the British Isles intermingled with fascinating and sometimes astounding results.
Mr. Beaty’s subject is Paul Robeson, the singer and actor who rose to the heights of his profession prior to and during World War II and then plummeted to the depths by his open admiration for equal treatment of people of color within the Soviet Union, an admiration that soured once Stalin came to power. Nevertheless, Mr. Robeson was called before the House UnAmerican Activities Committee, and like so many artists so called, he lost his prestige and his ability to work as an entertainer for years to come.
The 2011 Tony Award-winning costumes are outlandish marvels. There’s nothing more fun and mindless than watching dancing cupcakes and paintbrushes. The topiary and ribbon candy headpieces are to die for.
Art of Élan, that plucky chamber music series run by Kate Hatmaker and Demarre McGill, opened its fall season at the San Diego Museum of Art on Tuesday (Oct. 15) with Felix Mendelssohn’s Second String Quartet in A Minor and selections from Elvis Costello’s “The Juliet Letters,” the British rock star’s 1993 opus for string quartet and vocalist.