Call for Art! Cultural Council teams up with CAE - EARLY DEADLINE!

• Jasper doesn't usually post straight press releases but we're very happy to hear about this call and wanted to make sure as many folks as possible see it. Heads up Visual Artists -- we want to see your work at CAE!

Cultural Council Announces Call to Visual Artists

The Cultural Council of Richland and Lexington Counties, in partnership with the Greater Columbia Metropolitan Airport, is issuing a call to 2-D and 3-D artists for rotating exhibition opportunities  at the airport.

Artists living in the Midlands will have the opportunity to exhibit their 2-D work on walls between the security checkpoint and the food court at the airport for a period of two months beginning in February, 2014.  3-D artists will be provided the opportunity to exhibit their work in a secured exhibition case at the entrance of the atrium from the ticketing concourse.   Travelers to and from Columbia will be introduced to Midlands artists through their work and will be provided information to contact the artist if they wish to purchase any of the pieces.

“The arts provide a great introduction to our area.  We have such fine artists living here, and exhibiting their work to the traveling public will enhance the travel experience to the traveler and provide exposure to the artist and their work,” said Anne Sinclair, chairman of the Richland-Lexington District Airport Commission.  “It’s a win-win-win situation for the public, the airport, and the artist community.”

Interested artists are asked to submit 3 images representative of their work to Norree Boyd-Wicks, executive director of the Cultural Council of Richland and Lexington Counties via e-mail to Norree@SmartArts.info by Wednesday, January 8, 2014.  Artists will be selected and notified as to their exhibition dates.  All 2-D work must be exhibition ready with proper hanging wire and hooks.  All work, 2-D and 3-D must have proper labeling.  Information about the artist and the exhibited works will be prepared by the Cultural Council and provided to those interested in contacting the artist.

“The Cultural Council is very pleased to partner with the airport in providing arts experiences to travelers and promoting local artists,” said Boyd-Wicks.  “The Cultural Council is celebrating 30 years of service to the arts in the Midlands, and this program is a wonderful addition to our activities.”

The Cultural Council is celebrating 30 years of service to the arts in the Midlands.  For more information, call 803-799-3115.

bittersalt bittersweet -- Michaela Pilar Brown's new performance art opens this Thursday at 701 CCA

 

Michaela Pilar Brown's 

bittersalt bittersweet

Thursday, December 19, 2013, 7;00 p.m. 

701 Center for Contemporary Art -701 Whaley Street, 2^nd Floor

Admission Free

Performance: “the most immediate art form… for it means getting down to the bare bones of aesthetic communication—art/ self-confronting audience/ society.”—Lucy Lippard

Performance art is a generic term that encompasses such styles as conceptual art, body art, and feminism, as well as very specific art movements like Fluxus and Viennese Actionism. The style gained popularity in the 1960s when visual artists began abandoning the object for a more direct mode of expression. Subverting linear theatrical narratives for spontaneous and honest interaction with audiences in response to social and political concerns connect the artworks placed within this classification.

Parallels can be drawn between Michaela Pilar Brown’s performance, Bittersalt Bittersweet, and a myriad of influential performance pieces including Yoko Ono’s Cut Piece (1964) and Marina Abramović’s The Artist Is Present (2010). Her piece also follows in the tradition of African-American artist Adrian Piper’s conceptual work that first brought race and gender into the conversation, as well as the Kara Walker and Lorna Simpson’s deconstruction of stereotypes. The strength of this performance is that it combines elements of all of the aforementioned sources. Here, Brown forces participants to engage on an intimate level with her, while having to make difficult decisions about her, which have the potential to elicit unexpected responses in both the sitter and audience. Challenging inappropriate modes of representation of marginalized people, Brown stages the performance within a tent, clearly referencing P.T. Barnum’s commodification and exploitation of Joice Heth. The setting also works in concert with sideshow exhibits featuring “exotic” peoples from other countries. The Dahomey Village, one of the Midway attractions at the 1893 World’s Columbian Exposition nicknamed “The White City,” comes to mind and reinforces the Baudelairian voyeurism made prominent by Barnum. Looking from past to present, Brown’s work is analogous with Coco Fusco and Guillermo Gómez-Peña whose performance, Two Undiscovered Amerindians Visit the West (1992), blurred the lines between fiction and reality. The stereotypes personified were sometimes believed to be historically accurate, sometimes feared for the anxiety-inducing unknown of what the performers might do, and sometimes irritating because of the overt commentary on racism and oppression. Bittersalt Bittersweet continues the debate about race in America, but it is more focused on the treatment of women. On an even deeper level, this performance is a personal exploration into the psyche of the artist as she rejects societal definitions ascribed to African-American women for the preferred titles of daughter, sibling, partner, lover, caregiver, and role model.

By Lana A. Burgess, Ph.D.

Faculty Curator, McKissick Museum

University of South Carolina

"A Christmas Carol" for the post-modern, steampunk generation - August Krickel reviews the new show at Trustus

When the pretty young lady, clad in Victorian-era garb but sporting short, natural hair, leans into the microphone and begins beatboxing, you know this isn't your father's Christmas Carol. It's still Charles Dickens's timeless story, however, but with plenty of reinvention from playwright Patrick Barlow, director/scenic designer Chad Henderson, and costumer Amy Lown.   Purists may raise an eyebrow or two at this post-modern take on a holiday classic, while purists of a different sort may wonder why Trustus Theatre is producing a family-friendly, feel-good version of a century-and-a-half-old novella, but there's no question that talent both on stage and behind the scenes ensures enjoyable seasonal entertainment with some decidedly non-traditional story-telling twists.

We're all familiar with Scrooge, but let's focus on Barlow for a moment.  He's best known for a stage adaptation of The 39 Steps, in which three actors played dozens of characters from the Hitchcock film, interacting with a rugged hero whose tongue was firmly planted in cheek; their quick changes of costume, wig, accent and gender, miming or improvising most sets and props while navigating the melodramatic plot and dialogue made for broad slapstick comedy.  Here Barlow uses the same technique, but retains respect for the original flowery prose.

Stann Gwynn, almost unrecognizable under heavy character make-up, plays Scrooge throughout.  The bulbous nose, ravaged face and bushy eyebrows (designed by Robin Gottlieb) are reminiscent of some of the dwarves from the recent screen version of The Hobbit - exaggerated but still believable - but more importantly, they seem to free Gwynn as an actor. He's played older before, he's done accents before, and he's played grandiloquent characters before, but I've never seen those all at once, with such sustained intensity over more than two hours. Avery Bateman, Catherine Hunsinger, Wela Mbusi, and Scott Herr portray everyone else, although the quick changes and jumps from one persona to the next occur fairly naturally.  Actors playing multiple roles is commonplace now on stage, and Barlow only occasionally uses that convention for comedy. Even the use of marionettes to depict young Scrooge and Tiny Tim prompts an initial surge of laughter from the audience, but then plays out in a fairly straightforward manner.  Indeed, I found myself wishing that there were a lot more comedy, even if improvised by the capable cast, especially in the first act. When Hunsinger appears as a sort of sexy, steampunk Spice Girl-turned-nanny in the second act as the Ghost of Christmas Present, the pace picks up, and Barlow occasionally veers away from the original Dickens text to insert jokes here and there, including a hilarious conclusion to Scrooge's dream that breaks the fourth wall unexpectedly.

All four of the mini-ensemble also double (triple?) as singers and musicians, providing mood music in the background via various instruments, and sometimes breaking out into traditional Christmas songs.  Both Hunsinger and Bateman, last seen together in Henderson's production of Spring Awakening two years ago, get to show off their lovely voices, but they actually are even more impressive in their mastery of multiple characters and authentic accents.  Dialect coach Marybeth Gorman (surely helped by Mbusi, a native of the U.K. who has worked with the Royal Shakespeare Company) has ensured a lively mix of credible twangs and lilts that are mainly Cockney, "proper" British, and Irish, but I swear I heard hints of Manchester, rural Yorkshire, and Wales here and there, which was quite refreshing.

A little more on the music:  sometimes, Henderson incorporates modern songs, from artists like Justin Timberlake and Panic! At The Disco. At other moments, the actors perform moody instrumental tunes, developed by cast and director before rehearsals began. Particularly effective are Hunsinger on cello at moments of poignancy and sorrow, and Herr on keyboards, creating menacing chords sung to by Bateman, as Mbusi appears as the Ghost of Christmas Yet to Come.  Henderson uses a Line 6 Delay Modulator to create a number of beatbox and hip hop effects, as well as a Vocalist Live harmony effects processor. The tech gadgetry is certainly interesting; I'm not sure how much it actually adds to the performance, but it certainly livens up the proceedings. What is especially memorable is the production design, which incorporates a painted facade of a London street scene, plus expertly detailed projected images (snow falling, the hustle and bustle of city streets, a clock's face moving forward in time, the logo of Scrooge's business, a time vortex a la Doctor Who) courtesy of Baxter Engle.  Those projections are seen on a large round screen of sorts over stage left, and enhance the setting so much that I'd be happy to see similar effects in future productions. Amy Lown's excellent costumes include elegant Victorian attire, saucy steampunk-chic couture, and an ominous, tattered Christmas Yet to Come that could have been designed by Terry Gilliam.

Not everything works. The audio technology sometimes gets very loud, which is intended as a sort of in-your-face wake-up call to an audience that might get bored by the familiar material, but might be a little intimidating to the youngest or oldest attendees. (The show is completely G-rated, but its intensity, from the apparitions for example, might make this best for, say, age 10 and older.)  Sometimes the music and sound effects clash with the dialogue, and/or make it sound distorted.  The first act drags at times, and could use a lot more of the comedy found the second. A re-imagined Marley, his chains now controlled by the other three actors as if to signify his torment in the afterlife, seems awkward and unwieldy rather than scary.  Christmas Yet to Come is scary, but a Darth Vader-like heavy breathing effect got laughs where there needed to be chills.

This production is a new one, however, simultaneously opening here, off-Broadway, and at other regional theatres around the country, and new works are often revised. What impressed me about Barlow's adaptation is his incorporation of huge amounts of the original language from Dickens, made easily relatable by proficient performers, and his tweaking of its theme to resonate even more with contemporary audiences. Scrooge is no longer simply a cranky old man who had a sad childhood and bad experiences at Christmas; Barlow's Scrooge is now much more of a predatory lender, who seems to take delight in seeing the poverty of his fellow citizens, and gloats over his riches like Alberich and the Rhine gold.  Several of the supporting characters emphasize with great eloquence the "It takes a village" mentality, making it clear that charity and compassion are necessary far beyond the Christmas season.  It's no secret to local theatre-goers that director Henderson likes to liven up material that needs it with inventive staging.  I'd love to see him take this overall production theme - music, costumes, set design - and apply it to some classic of the stage like Shakespeare or Aristophanes.

At this point, one is likely to do one of two things. Either you will say "Wow - a Dickens classic with a twist, actors playing live music, Avery Bateman beatboxing, Catherine Hunsinger playing the cello and dressed as a steampunk babe - I've got to make reservations now!!"  Or all of that that may sound utterly ridiculous.  I must say that I had no real interest in seeing the story of Scrooge yet again, but I enjoyed this production; however, I generally enjoy these performers, and the way Henderson often toys with narrative technique for maximum dramatic effect.  Box office for this show will likely determine whether Trustus experiments more in this direction, or less.  But as I often find myself saying with local productions, either way, the people involved do a great job.

A Christmas Carol runs through Saturday, December 21st; contact the Trustus box office at 803-2254-9732 for more information, or visit www.trustus.org.

~ August Krickel

"Yes Virginia - The Musical" at On Stage Productions - a review by Melissa Swick Ellington

The On Stage Productions performance of Yes, Virginia The Musical offers plenty of heartfelt holiday spirit.  Drawn from an animated television special, the stage musical (with music by Wesley Whatley, lyrics by William Schermerhorn, and book adapted by William Schermerhorn from the animated special and storybook by Chris Plehal) has been developed by Macy’s as a performance opportunity for young people.

Based on a true story, the action unfolds during the year 1897 in New York City. Eight-year-old Virginia O’Hanlon questions whether Santa Claus is real. The search for truth takes her to the library as well as through the holiday bustle in the city, where Virginia encounters a bell-ringing “scraggly Santa” who reveals gifts for friendship and wisdom. Since she has been told “If you see it in The Sun, it’s so,” Virginia writes a letter to The New York Sun, asking “Please tell me the truth; is there a Santa Claus?” While the answer to her query is well known, the journey to that answer provokes curiosity.

Highlights of the performance feature the lovely singing voice of Liberty Broussard as Virginia, the clever timing of Rachael Sprankle as the whimsical Librarian, and the dynamic exuberance of Olivia Lesniak as Virginia’s best friend. Zach Tenney as Scraggly Santa exudes strong stage presence and communicates believable character development. JoJo Wallace conveys the mean girl role of Charlotte with vigorous energy, supported by her snooty cat Mrs. Whiskers (Mia Coats). Sincerity and sweetness emanate from the entire cast, particularly in the closing reprise of the title song. Additional cast members include Ella Johnson, Grace Beasley, Emma Cathryn Eubanks, Pierce Mejias, Perry Raines, Zavery Johnson, Paul Woodard, Heyward Moak, Cameron Eubanks, Turner Carson, and Major McCarty. The capable and dedicated production team includes Robert Harrelson (Director), Ryan Rogers (Youth Director), Rebekah Cheatham (Youth Choreographer),

Michelle Cheatham (Choreographer Coordinator), Debi Young (Rehearsal Music Coach), Brandon Moore (Stage Manager), and Tony Vaccaro (Stage Design and Props). April Wallace and Gina Moak Cotton designed costumes, Harrelson and Rogers planned lighting and sound, and Jill Larkin and Niane Szalwinski shared producer responsibilities. Production design establishes numerous locations effectively, such as Virginia’s home, the Sun office, the library, and the streets of New York City. Projections of images featuring different Santas from around the world emerge in the library sequence. Younger viewers will benefit from front row seats, as the audience arrangement can obstruct the view of little ones. The intimate performance space creates a cozy and welcoming environment; carol-singing and piano-playing plus a hot chocolate “bar” (and the delectable dessert offerings for sale) make intermission feel like a friendly holiday party.

The focus on youth engagement at On Stage Productions is commendable, as evidenced by inclusion of the student directing intern in the opening remarks, and the production’s involvement of an eleven-year-old choreographer. The young actors appear comfortable and confident on stage. The audience’s enjoyment of the performance is buoyed by the children’s delight in performing. (My six-year-old daughter confided after the first act, “Mommy, this seems like a GREAT place to be in a play!”) The earnest ensemble entreats in song: “Believe in joy. Believe in love. Believe your whole life through. Keep bright the light of childhood.” The light of childhood shines brightly at On Stage Productions this holiday season.

Want to learn more about the script and score? The website yesvirginiathemusical.com provides production resources which will delight young theatre artists. Interested in attending the On Stage performance? Visit www.onstagesc.com for tickets and further information. Yes, Virginia The Musical will be presented at the On Stage Performance Center (680 Cherokee Lane in West Columbia) at 7:30 pm on December 7, 12, 13, and 14, and at 2:30 pm on December 7, 8, 14, and 15.

~ Melissa Swick Ellington

Brian Childers plays Danny Kaye this weekend at Workshop Theatre, and talks about his roots in local theatre

This weekend, award-wining professional stage performer Brian Childers brings his critically-acclaimed one-man performance as Danny Kaye to the stage of Workshop Theatre for two shows only.    An Evening with Danny Kaye is co-sponsored by The Katie and Irwin Kahn Jewish Community Center as a fund raiser for the theatre. Show dates and times are: Sat. December 7 at 8 pm, and Sun. December 8 at 3 pm.

Childers, a Columbia native and veteran performer on local stages, took time recently to talk with Jasper about his career and this special production.

Jasper:  Tell us a little about your background, and how you became involved in theatre locally.

Childers:    I was born in Columbia, SC, and graduated from Irmo High School.  My first "role" was in a production at our school assembly. I played the Narrator, and my mother says there was no stopping me. I was singing from the time I was able, and sang in church and school all the time. I did my first children's theatre rroduction with (Bette Herring's) Upstage Children's Theatre in Columbia many years ago, but I really cut my teeth on working with such theatres as Workshop Theatre, Town Theatre and the Lexington Arts Association.

Jasper: What were some especially memorable shows at Workshop, and some people you really enjoyed working with?

Childers:  Growing up in Columbia, I always wanted to be in a show at Workshop Theatre, and I got the privilege to be in several shows there.  I did And the World Goes Round, a play called Scotland Road, Scrooge, the Stingiest Man in Town, and one of my all time favorite theatrical experiences was playing John Adams in 1776 at Workshop. I worked with such directors as David Swicegood, Cindy Flack, and Clarence Felder. I loved every set I have ever seen built by Randy Strange. I really love the staff and crew at Workshop.

Jasper: At what point did you make the transition into acting professionally?

Childers:    I finished college, and came back home for a year and a half, not sure what was the next step to take. I actually did a full season and a half of back-to-back shows at Town Theatre and Workshop Theatre. Those were some of the best times that I can remember. After that season I decided it was time to head up north and try my wings in show business.  I decided not to move directly to New York. I had many friends who had up and gone to the Big Apple and had not worked since!  Instead, I decided to move to Washington D.C.    There was, and is, a thriving theatre scene there. I thought that if I couldn't get cast in Washington, I certainly was not going to get cast in New York. I was incredibly lucky in Washington:  I worked constantly for the next 5 years.  (After) my first audition, I landed the role of Emory in Boys in the Band at my first professional theatre company, The American Century Theatre. It was this theatre that brought about the life changing role of Danny Kaye.

Jasper:  You first played Kaye in Danny and Sylvia; how did you initially get cast?

Childers:  I was in a production of Hollywood Pinafore with The American Century Theater.  I was playing the role of Raif Rackstraw. When Jack Marshall (the show's director and the artistic director of the theatre) and I discussed what to do with this character, unbeknownst to us at the time, we really shaped him as a Danny Kaye-type without meaning to. There was one scene in particular that Jack saw me play and apparently the lightbulb went on.  Jack had had the script on his desk of Danny and Sylvia, but was convinced he needed someone who really could be Danny. So when Jack saw the scene in the show he ran back to me at intermission and said, “You are going to play Danny Kaye, and I have a script on my desk.”  I immediately said "Oh, I love Danny Kaye", but the truth was I knew very little if nothing about him. I went home that night and googled Danny Kaye... and then I thought "WHAT HAVE I GOT MYSELF INTO??"   Once we started rehearsals with Jack Marshall, I knew all was going to be fine. He directed me and taught me how to play Danny Kaye.  And that was the start of this incredibly long wonderful journey. I have been playing Danny Kaye on and off for over 13 years.

Jasper:  Kaye was a huge star at one point, but perhaps not as well known now to modern audiences, apart from his iconic role in White Christmas. What do you think about him as a performer, and then as a character to play?

Childers:  Danny was really a genius. He could sing, dance, act, clown, and hold an audience in the palm of his hand. He was a true entertainer. That word isn’t used much these days. You have a singer, or a dancer, or even a triple threat, but Danny was much more than all those things. At one point he was the highest paid actor in Hollywood.  Danny conducted symphony orchestras, was a professional Chinese chef, a pilot and was fascinated by surgery of any kind. Versatile was definitely a way to describe Danny.

Playing Danny as a character has been one of the greatest challenges and most fulfilling things I have ever done as an actor and performer. Danny was complicated offstage and yet was so wonderful with an audience onstage. It's a dream for any actor to dive into a role like that.

Jasper:    What are some particularly enjoyable roles and shows that you have done?

Childers:  Of course playing Danny Kaye Off-Broadway for three years was pretty spectacular. Danny still remains my favorite role. When I first arrived in DC, I landed the part of Emory in Boys in the Band. Perhaps because it was my first real professional experience,or just the great character that it is, I loved that role. I was fortunate to be cast in a brand new musical called 90 North at the Kennedy Center, which made me a member of Actor's Equity, the theatrical union. I played Tom Sawyer on the National Tour of The Adventures of Tom Sawyer, and loved the cast and the role.  And starring in a national tour was a very big learning experience.   I actually loved playing John Adams at Workshop Theatre in 1776. When I got the call that I was cast, I was floored.  I told the director I was entirely too young, and I was performing with some terrific actors in the theatre scene there at the time. He told me trust him, and it would be fine. I did, and I loved the role and the cast of that show.

Jasper:  What can audiences expect from this performance in Columbia?

Childers:  An Evening with Danny Kaye is just as it sounds. I have been in several different book musicals of his life, (including) Danny and Sylvia and another very successful show I did called The Kid from Brooklyn. Both covered his life story. This show is not that.  Danny used to perform one-man concerts all over the world. Many people over the years came up to me and said "Why don't you do a show that was like the concerts he used to do?" So I put together this show. The idea is that the audience is coming to see Danny in his one-man concert.  There is nothing but music and stories. I perform some of his greatest material, from  "Tchaikovsky", "Minnie the Moocher" to  "Hans Christian Andersen" and of course "White Christmas". The show is filled with great music and laughter - a fun and exciting evening at the theatre. My hope is that it will bring nostalgia to some and for others (introduce) this great performer to a new generation.

Jasper:  Finally, why do you feel organizations like Workshop Theatre are important to a city like Columbia?

Childers:  I believe that theatres such as Workshop play a vital role in both the community and in the cultivation of young talent. Community theatre enriches the lives of those who take an active part in it, as well as those in the community who benefit from live theatre productions. On either side of the footlights, those involved represent a diversity of age, culture, life experience, and a strong appreciation of the importance of the arts. Places like Workshop Theatre are essential and must be preserved and nurtured. I know that I would not be where I am without actively taking a part in Workshop Theatre. It is a privilege to be able to return and perform at Workshop Theatre.

...................

Brian Childers won the Helen Hayes Award for Best Actor in a Musical for  Danny and Sylvia: A Musical Love Story, as well as the Mary Goldwater Award for his portrayal. The  New York Times wrote that this was "an outstanding performance by Brian Childers as Kaye," while Talkin’ Broadway said: "Childers makes you feel as if you are watching the real Danny Kaye. Every gesture is perfect and he has mastered the mimicry and dialects that were such a great part of Kaye's performances."  In 2014, Childers will play the title role in The Jazz Singer Off-Broadway.  You can also learn more about his career at http://www.brianchilders.net.

Details on this special performance can be found at the Facebook event page  and at the Workshop Theatre site.  Tickets are available online,  or call the Workshop box office at 803-799-6551.

~ August Krickel

Thomas Crouch has new work at S & S -- sadly, it's for their last show

Thomas Crouch’s new exhibit is opening on Thursday night, December 5^th, as the final S&S Art Supply show. We’re sad to see S&S go – under the leadership of Eric Stockard, longtime purveyor of arts supplies, S&S has been a steadfast and loyal member of the arts community. Always doing their share. Always doing what’s right. They’ll be missed.

Back to the art.

Crouch’s new exhibit,“As The Crow Flies,” explores the physical and conceptual space shared between humans and crows. The crow, Crouch says, has long been used symbolically and metaphorically in language, literature and visual art to explain human conditions and situations. From Crouch’s perspective, this is due to the intuitive and highly intelligent nature of the crows and ravens. According to Crouch, “Corvid’s adaptability to human nature is due to their study of humans. As [hu]mankind has civilized and manifested itself on earth it has unknowingly created the perfect environment for the Corvid family.”

In mythology, Native American beliefs and Christianity, Crouch continues, “crows and Ravens have highly symbolic value—good or bad. In The Bible it is written that Noah first let a White Raven fly before he sent out doves. The Raven never returned so it was then that the Raven was turned black. Depending on the religion/belief the Ravens are considered stealers of light as well as givers of light.”

From POST-ECHO -- PASSAGE is here!

Local record label Post-Echo is releasing the final segment of its five-part film experience PASSAGE on Tuesday, December 3^rd. What began as an almost journalistic exploration of abandonment in the South morphed quickly into a complex, multi-part movie. After putting out an audiovisual graphic novel called DRIFT last year, it seemed only fitting for the label to begin work on the production of its first interactive film.

Although Post-Echo was created in official terms in September of 2011, the idea to produce collaborative artistic content came almost a year earlier when Post-Echo founders Justin Schmidt and Franklin Jones formulated the idea that later became DRIFT. The collaborative hopes to act as an outlet for artists in which they are provided with resources that might not otherwise be readily available. Post-Echo certainly carries out the typical role of a record label through the CDs and vinyls it puts out. But the group also uniquely focuses on the production of content that displays components of all the visual arts.

The making of PASSAGE began with simplicity. The crew would drive around for lengths of time, searching for broken-down places – places whose own dilapidation provided life to the stories that Post-Echo wished to tell. Throughout the course of the five parts, the filmmakers delve into a variety of themes, including meta-interaction, voyeurism and post-industrial abandonment.

“With Passage, we’ve sort of mashed all of these ideas together to build a metaphoric Jenga tower of a narrative,” says Franklin Jones, who acts as writer, editor and director of the film. “Every installment has been about raising the height of the tower, and in part V, we hope to knock the whole thing down to better reveal the pieces.”

The final part of PASSAGE is 48 minutes, significantly longer than its predecessors. It features an original score from JFS (Jason F. Stroud) that Jones best describes as “electro voodoo folk metal.” The release will bind together the individual parts, while also providing viewers with an ending that is neither clean nor easily explainable. The creators hope to spark thoughtful conversation at the end of the film and allow room for the viewers to think freely and form their own opinions on the movie’s meaning.

“The conclusion won’t necessarily come with a nice, little bow, but the gift wrap will indeed be interpretative,” explains Jones.

Jasper music editor Kyle Petersen interviewed both Jones and Schmidt in the September/October issue of Jasper magazine. Petersen discusses Post-Echo’s creation and the various projects it has embarked on in thorough detail. The article can be read online at www.jaspercolumbia.net.  

Several minutes of self-reflection were required after viewing each installment of PASSAGE for myself. The film strained my brain in the best of ways, and I have nothing but appreciation for the time and thought that went into its conception.  

To learn more about Post-Echo, visit www.post-echo.com. All parts of PASSAGE are available on the site, as well as music from Post-Echo artists.

Movie credits are as follows –

Writer/director/editor – Franklin Jones

Principal Cinematography – Justin Schmidt

Additional Cinematography – Jason F. Stroud, Franklin Jones, Corey Alpert, Sean

                                                Shoppell, Caitlin Hucks

Visual Effects – Jason F. Stroud

Visual Art – Eli Armstrong

Starring – Bobby Markle

Music

Part I – Cancellieri

Part II – Koda

Part III – Forces of a Street

Part IV – Devereaux

Part V - JFS

Jasper Salon at 80808 with the Midlands Clay Arts Society FRIDAY NIGHT!

We're taking the Jasper Salon on the road again!

This time we're heading down to the Vista to visit with the Midlands Clay Arts Society at Vista Studios Gallery 80808.

Four individual artists with different techniques -- Betsy Kaemmerlen, Terry Meek, Renee Rouillier, and Tim Graham -- will explain the unique processes they use to achieve the effects they want for their art. (Stay tuned to What Jasper Said this week for more in-depth looks at the featured artists.)

This is a chance to get a good handle on various clay arts techniques, theory, and terminology, and learn directly from the artists themselves.

The free event will run from 6 until 8 pm with intermittent presentations given throughout the evening.

The Jasper EconoBar will be operating so come out and enjoy an adult beverage and the new MCAS exhibit, and take home a lot of new information and maybe a new piece of art.

Thanking our Advertisers & Guild Members BY NAME!

As this long weekend of explicit thankfulness comes to a close, Jasper would like to take the opportunity to acknowledge the individuals and organizations for whom we are most thankful -- those who pay the piper or, in our case, the printer.

Jasper Magazine is 100% supported by advertisers and Jasper Guild members. We take no money from anyone else -- not even city government, (unlike with at least one other publication, a new advertorial one, city government doesn't even support us with their advertising dollars -- guess you won't be hearing us boast about bottles of champagne showing up on our doorsteps on New Years Eve!) But because of this, we're under no one's thumb and therefore not obligated to anyone. We like it this way.

But this makes us even more appreciative of those who support us both personally through their guild membership and with their advertising dollars.

Jasper Guild Members have gone out of their way to reach into their own coffers to support us. We can't tell you how much this means to us. We need your money, yes, but it is the act of your actually giving it to us that sometimes chokes us up -- we'll admit it -- we sometimes feel a little like Sally Field and we're not ashamed of it!

Our advertisers have taken a chance on us, as well. And they're taking a chance on you, our readers, too. Please help us repay their faith in us by patronizing their places of business. Tell them you saw their ads in Jasper and thank them for supporting your arts community with their advertising dollars.

Because the reality is, without them -- without our advertisers and our guild members, we wouldn't be here. Bottom line.

Our sincerest thanks to the members of the Jasper Guild:

Nancy Kauffman - Russ & Jeannie Eidson - Jennifer Phelps - Wade Sellers - Todd Mathis - Nancy Pope & John Watkins - William Fickj - Coralee Harris - Gigi Woods - Marcia Watkins - Katie Fox - Cindy Patterson - Elena Martinez-Vidal - Laurie & Duncan McIntosh - Diane Hare - Forbes Patterson - Erin Bolshakov - William Starrett - Toni Elkins - William Schmidt - Anna Shaw Legare - Sheila Morris - Lauren & Robert Michalski - Doni Jordon - Manita & Charles Craft - Localhappiness.net - Ceille Baird Welch - Philip Mullen - Kay & Jim Thigpen - Kirkland Smith - Amy Overstreet - Alex Smith - Charles Lesser - Joseph Counts - Tracie Broom - Alvin Neal - TraceBallou - Janna McMahan - Dick Moons - Easter Antiques - Margey Bolen - Melinda Cotton - Robert Coffee - C. Hope Clark - Wentworth Tradd - Watermark Hypnosis - Heather Green - Bob Waites - Catherine Petersen - Cindy Roddey - Sean McGuiness - BA Hohman - Joe Morales - Raia Jane Hirsch - Grace Aguila - Wild Blue Sky - Robin Gottlieb - Lizzie Wrenn - Nancy Marine - Ladybug Art Studios - Ron Hagell - Harriet Showman - Anthony Imperial - Trinessa Dubas - Glenda Keyes

Tremendous thanks also to our Advertisers:

Trustus Theatre - Midlands Clay Arts Society - One Columbia - Columbia Museum of Art - Columbia City Ballet - Mouse House - Elite Framing - The Whig - Artizan - Vista Ballroom - Bonnie Goldberg South Carolina State Museum - Cellar on Greene - Tapp's Arts Center - Ramco Framing - Columbia Marionette Theatre - Coal Powered Filmworks - Kristian Niemi for Rosso and Bourbon - First Citizen's Cafe

If you'd like to advertise with Jasper please contact AdTeam@JasperColumbia.com

If you'd like to become a member of the Jasper Guild, please email Annie@JasperColumbia.com or Cindi@JasperColumbia.com or go to http://jaspercolumbia.net/store/products/category/jasper-guild/

In any case, thanks for reading & thanks for being  a part of the Jasper Family.

-- CB

Jasper Goes to the Library - Tuesday with Laurie McIntosh!

  Starting in December at the Richland Library and six of its branches, don’t be surprised to smell turpentine in the circulation department or hear singing in the stacks because Jasper is going to the library!

Jasper Goes to the Library is a new outreach program presented in a partnership between Jasper Magazine and Richland Library. Once a month for six months and at six different library branches, artists from six different arts disciplines will present an hour long program of performance and demonstration.  Disciplines include dance, theatre, the literary arts, music, visual arts, and film.

It was a brainstorm that originated with Heather Green, manager of Richland Library Wheatley. “I had really begun thinking about how Richland Library could partner with our community artists to have the biggest impact on our community,” Green says.  “Although we are considered a metropolitan area, many of our residents do not have access and exposure to the many arts resources we have right here in Columbia. I decided to contact (Jasper editor) Cindi Boiter to get the ball rolling on a Richland Library/Jasper partnership. My initial ideas were small – that Jasper could come to Richland Library Wheatley, which is my location, and present something arts related. Cindi blew my small ideas wide open suggesting that Jasper and the Library collaborate for a series of presentations – from performing arts to visual arts. So in one afternoon meeting, my little idea grew into a wonderful partnership.”

Local visual artist Tim Floyd is also one of the six selected artists and arts groups to participate in the inaugural program and is scheduled to present and demonstrate on January 7^th  in 2014 at the Ballentine branch of Richland Library. For Floyd, who will be talking about creative solutions and demonstrating how to make an encaustic painting, it makes perfect sense for an arts magazine like Jasper to design a series of arts events which will allow working artists to share their talents with their community in free and public spaces.  “Libraries are the knowledge hub of a community. Showing original art and process is important for the encouragement of others,” Floyd says. “Maybe one person will get a spark and go out and create something.”

The programs will all take place on the first Tuesday of the month starting on December 3^rd  with visual artist and writer Laurie McIntosh who will be talking about and reading from her art book, All the In Between – My Story of Agnes, at the Wheatley Branch. McIntosh’s book is an annotated catalogue of an art series she completed commemorating the life and death of her mother. Other presenters include the musical duo of Todd Mathis (guitar) and Cully Salehi (viola) who will perform at the North Main Branch on February 4th, films from The 2013 2^nd Act Film Festival presented by Jasper Magazine on March 4^th at Richland Library Northeast, Columbia City Ballet Company on April 1^st at the Southeast branch, and the South Carolina Shakespeare Company on May 6^th at the Cooper branch.

“Columbia has so many wonderful resources. We should all be partnering more to maximize our message that all residents/communities deserve to have quality education and information—no matter their socioeconomic standing,” says Green. “I am so excited that Richland Library and Jasper are partnering up to further promote the arts in Columbia. Six months of Jasper artists in our libraries? That sounds pretty awesome to me!”  

"Ho Ho Ho" at Columbia Children's Theatre - a review by Melissa Swick Ellington

Ho Ho Ho offers bright and energetic holiday entertainment at Columbia Children’s Theatre.  Designed to engage even the youngest audience members, this production features wacky humor in the custom of British pantomime.   As “panto” embraces audience participation and madcap folly, Ho Ho Ho keeps viewers shouting with gleeful laughter at the silly antics of familiar festive characters.  Father and Mother Christmas (i.e. Santa and Mrs. Claus) face rollicking chaos as they strive to reclaim elusive holiday spirit amid comical mishaps.  Tradition blends with pop culture references as elves cavort to contemporary hit songs. Audience members will enjoy participating in this rowdy ride through pursuit of Christmas magic.  The boisterous comic style of the show embraces broad physical jokes as in vaudeville, including slapstick sequences that may startle some of the youngest viewers, as well as a bit of potty humor that will appeal to a wide cross-section of audience members. (Truth be told, my husband and I laughed even harder than our children did during one particularly memorable sound cue sequence…I bet you’ll know which one if you see the show.)

As directed by Frank Thompson, the production maintains a brisk pace and admirable clarity. Cast members work together in a vibrant, captivating ensemble. In the central role of Father Christmas, Lee O. Smith brings empathy and warmth to his character in the midst of the wild hijinks. Will Moreau as the Musical Elf shares a special talent for mesmerizing the young audience, often without speaking a word. Mother Christmas (Christy Shealy Mills) drives the play’s narrative with vivacity, while the effervescent elves are portrayed with enthusiastic commitment by Elizabeth Stepp and Bill DeWitt. (Andy Nyland serves as understudy for the role of Elf Boy Len).

As ever with a CCT play, commendable production values are maintained, with sound design by Frank Thompson and costume design by Donna Harvey and Jerry Stevenson. Costumes combine recognizable holiday attire (that iconic red suit) with surprising delights (an ever-changing parade of zany hats). Complex action onstage relies on offstage support; clearly, this production has a superb team in place. Stage manager extraordinaire Jami Steele-Sprankle keeps the mayhem under control and provides effective backstage organization. Sound technician Anthony Harvey delivers praiseworthy precision in the execution of numerous sound cues which are essential to the show’s comedy, while David Quay supplies dependable light board operation.

As a parent, I was particularly gratified by the actors’ knack for nurturing my preschool son’s focus throughout the performance. He was able to engage in the audience-actor transaction of live theatre at a level of understanding that I hadn’t seen from this little boy before. The youngsters in attendance at this matinee performance were charmed by the actors, and became visibly invested in the play’s events.

Before the performance, cast and crew members involve children in coloring stocking ornaments and helping to decorate the onstage tree. A gentle approach to audience participation invites eager kids to take part in various opportunities, but does not overwhelm more reserved children. Stick around after the show to meet the cast, get autographs, and take photos. (My daughter observed, “I love when the actors autograph my program at Columbia Children’s Theatre!”)

Early in the performance, my youngest child chortled with laughter after a funny physical sequence and declared, “Ohhhh that is SO silly.” Yes, Ho Ho Ho, scripted by award-winning British children's playwright Mike Kenny, is indeed “so silly,” in the most affirming and affectionate sense of the term. Columbia Children’s Theatre offers our community a comedic gift this holiday season in a fast-paced and cheery romp. Head on over to Ho Ho Ho, jumpstart your holiday spirit, and laugh your cares away with Father Christmas and friends at Columbia Children’s Theatre.

~ Melissa Swick Ellington

Jasper 2013 Artists of the Year Announced!

 

Jasper is delighted to announce the winners of the Jasper 2013 Artists of the Year awards in dance, literary arts, music, theatre, and visual arts.

Congratulations to:

Terrance Henderson, who is the Jasper 2013 Artist of the Year in Dance.

Members of the band, The Restoration, who are the Jasper 2013 Artist s of the Year in Music.

Janna McMahan, who is the Jasper 2013 Artist of the Year in Literary Arts.

Vicky Saye Henderson, who is the Jasper 2013 Artist of the Year in Theatre.

And, Philip Mullen, who is the Jasper 2013 Artist of the Year in Visual Arts.

Nominees for Jasper’s 2013 Artists of the Year were solicited from the community at large with a resulting 55 nominees. Five teams of arts experts deliberated for almost 20 hours to arrive at the top three finalists in each of the above categories. Almost 4500 artists and patrons voted with the final vote deciding the winners.

The winners were honored on Thursday, November 21^st during Columbia, SC’s Vista Arts celebration with an awards ceremony at Coal Powered Filmworks at 1217 Lincoln Street in the heart of Columbia’s Vista. All winners and finalists are also featured in the new issue of Jasper Magazine – The Word on Columbia Arts.

Last year’s winners included Chad Henderson for Theatre; Morihiko Nakahara for Music; Regina Willoughby for Dance; Kwame Dawes for Literary Arts; and, Susan Lenz for Visual Arts.

An Anti-Violence Arts Project w/ STSM, Tapps, And Jasper

Sexual Trauma Services of the Midlands  (STSM) is partnering with Jasper Magazine and Tapp's Arts Center to launch a new arts and anti-violence initiative called Imagine If: Envisioning a World without Violence. Imagine If invites community members to recognize, identify, and name the elements of violence around them and imagine a world in which those things do not exist.

As part of the Imagine If project, STSM is collaborating with Tapp's Arts Center to conduct free arts workshops with community members and groups to  create art of all genres and media (including visual, film, photography, creative writing, etc.) around the theme of imagining a world  without violence. The first workshop will be held on Saturday, November 23, 1:00-3:00 p.m. at Tapp's Arts Center (1644 Main St., Columbia, SC).

For this workshop, we invite people of all ages and artistic backgrounds to bring your sketchbook, notebook, and/or camera and see what inspires you as  we go for a guided stroll down Main Street. Feel free to stick around at Tapp's after the walk to write, sketch, photograph, and fellowship with other artists and community members. You don't have to be an artist to participate, just be open and willing to delve into your pool of creativity. The workshop will be facilitated by Tapp's Arts Center artist-in-residence Jim Dukes and local writer/teacher Brandi Perry.

The creative pieces made in these workshops can be created just for fun,  for personal growth and healing, or to submit for display during Sexual  Assault Awareness Month (April). STSM will use a selection of the pieces submitted through this campaign to be displayed at Tapp’s Arts Center for the April 3 kickoff for Sexual Assault Awareness Month (SAAM) and throughout the month of April.

All our workshops are free, but please register online. And if you can't make it this month, keep an eye out for future announcements about project workshops and events.

For more information on the Imagine If project or to submit a piece, please contact STSM's Prevention Education Coordinator Alexis Stratton at  pec@stsm.org or 803-790-8208, or visit the Imagine If webpage.

-- Alexis Stratton

Guess Who the Jasper 2013 Artists of the Year Are, and WIN!

We're counting down the days and hours until we announce this year's winners for Jasper's Artist of the Year in Dance, Literary Arts, Music, Theatre, and Visual Arts on Thursday, November 21st at 6 pm!

To make time pass more quickly we thought the members of the extended Jasper Family might be interested in getting in on the competition.

Here's how:

Visit us on Facebook and find the message GUESS THE WINNERS posted on our Facebook page at https://www.facebook.com/jaspercolumbia. In the comments section under that post, do just that -- guess the winners in each of the five categories by 4 pm on Thursday, November 21st.

If you are correct -- in ALL FIVE categories -- visit us on Thursday evening at our release celebration at Coal Powered Filmworks at 1217 Lincoln Street and you'll win one of our cool new purple Jasper Backpacks. It's that easy.

To refresh your memory, here are the finalists in each category:

Dance:  Erin Bolshakov     Wayland Anderson     Terrance Henderson

Music:  Phillip Bush     The Restoration     Fat Rat da Czar

Literary Arts:  Janna McMahan     Aida Rogers     Jim Barilla

Theatre:  Bobby Bloom     Terrance Henderson      Vicky Saye Henderson

Visual Arts:  Michaela Pilar Brown     Philip Mullen     Thomas Crouch

We're looking forward to seeing how clever you are -- and learning who the winners are ourselves!

So get guessing -- and we'll see you on Thursday when we announce the winners!

Jasper Shares -- A New Way of Getting Your Arts News & Accomplishments to the Community

 

Dear Artists and Arts Lovers,

We've got something new and exciting up our sleeves and we can't wait to tell you about it. We call it Jasper Shares and it's a new way of keeping everyone in the loop about the goings-on in the greater Columbia arts community. No, it's not just event-oriented--although we will be offering for your consideration Jasper's Picks for the most interesting and innovative events coming up. It's more about the great things Soda City artists do that often lead to these events. Things like getting a part in a play or a ballet or winning a contest or award. It's about sharing arts news with people who care, and it's about making the sharing of news as easy as clicking right here!

Jasper Shares will show up in your in-box on a weekly or less schedule with helpful arts-based news – not only about what’s going on with Jasper, but also about what’s going on with all of you in the greater Columbia arts community.

• Did your new book come out or did it get a review you’re too shy to share?

• Did you release a new CD?

• Has the cast for the latest play at any of our local theatres been set?

• Do you have an exhibition opening soon?

• A concert, film, or dance performance?

Let us know and we’ll help you share your good news with the rest of the world. However, with an arts scene as bustling as Columbia’s, we won’t be able to share everything that’s going on. But we’ll pick out the coolest arts news—the news that affects the most people, and the biggest deals—and we’ll pass the word along in Jasper Shares.

We’re also claiming Bragging Rights!

Was your painting accepted at some big deal art gallery or did you win an award or a prize or a random, but brag-worthy accolade? Sometimes it’s awkward to boast about your own successes and accomplishments. But the rest of us really do want to know. We’re a community! Your success is our success! So let Jasper Shares do the crowing for you.

Send us your news in an email to editor@JasperColumbia.com with the word SHARE in the subject line. If you have a photo or video, send that, too!

And look forward to the first official issue of Jasper Shares coming soon.

Until then, keep making good stuff happen, Columbia artists and arts lovers! All our lives are better because of the good work you do.

Take care,

Your friends at Jasper

Sign up for Jasper Shares at www.JasperColumbia.com or simply click here!

"Planet Hopping" at the Harbison Theatre - a review by Melissa Swick Ellington

 

Planet Hopping Is Out of This World

The actor questions, “Is everybody ready to go back to earth?”

“No!” declares a young boy in the audience.

He was certainly not the only one who wanted to prolong tonight’s premiere performance of Planet Hopping: An Intergalactic Puppet Musical. This luminous collaboration between the puppet artists of Belle et Bête and popular “kindie” rock band Lunch Money reveals the theatrical magic possible when innovators imagine together. The performance quality easily rivals family-oriented productions I have attended at national theatre education conferences as well as various venues in New York City. Planet Hopping is a marvel that has been created right here in Columbia, and you don’t want to miss it.

Developed as part of the Harbison Theatre @ MTC Performance Incubator, Planet Hopping shares a voyage from earth to outer space with an emphasis on the power of friendship. Kimi Maeda brings engaging charisma to the play’s puppet hero (Stella Spark, “an astrophysicist when she was just a lass”), while Lyon Hill skillfully characterizes Stella’s sidekick marionette, the lovable and quirky robotic assistant Jack. Through Stella’s Planet Hopping technology, the audience accompanies the characters on a dramatic journey through the solar system, led by the appealing tour guide Mollinda (Molly Ledford). The incorporation of fantasy with scientific facts will delight both children and their adults.

The Lunch Money band members (Ledford, J.P. Stephens, and Jay Barry) are as captivating as ever, sharing clever lyrics and rocking tunes that resonate with music lovers of all ages. One of the production’s greatest strengths is the seamless inclusion of the multi-talented band members as purposeful characters in the story. The “Amazing on the Moon” musical number melds band, projection screen, puppeteer, and marionette in a charming sequence made extra special by a puppet moonwalking…on the moon. The crowd-pleasing “Big Ball of Gas” Jupiter rap performed by P.J. the “new guy” (Stephens) with beatboxing by Jack the robot (Hill) becomes a highlight of the show.

Planet Hopping benefits from an admirable unity of production design, with creative use of lighting effects, video projections, and shadow puppetry. Want to learn about zoetropes, moveable cutouts, marionettes, transparencies, scrims, and more? Check out a fascinating behind-the-scenes look at the production here: http://www.harbisontheatre.org/behind-the-scenes-with-planet-hopping/. You can also read composer/lyricist Molly Ledford’s insights into the development of the show’s music, which includes “a bubblegum pop song about orbiting” and “a rockin’ number about enjoying 1/6 of our normal gravity on the moon.”

What a gift this collaboration is to our community. My six-year-old daughter spotted a promotional poster weeks ago and has been pleading to “go see the show Planet Hopping” ever since; I am grateful for her awareness and persistence, because this production is a one-of-a-kind experience. Upon receiving a sticker badge when exiting the theatre, my kid sighed happily, “It is amazing to be an official Planet Hopper.”

You can go hop planets with Captain Stella Spark and crew on Saturday, November 16 at 2 pm at the Harbison Theatre at Midlands Technical College (803-407-5011 or www.harbisontheatre.org).

"Sleuth" at Workshop Theatre - a review by Jillian Owens

Would you like to play a game?

No no no! This isn’t the latest installment of a poorly-written body horror series. This is Sleuth, a mystery/thriller by Anthony Shaffer. The title made me think this play was  probably a just silly British farce of some sort. I hadn’t seen it, or either of its film versions (both starring Michael Caine.) Upon entering the theatre, I was warned that  “There will be at least one, and possibly more gunshots in this show.” by at least three  ushers.

"Spoilers,” I thought.

The show opens in the lavish country home of Andrew Wyke (played by Hunter Boyle), a successful writer of many mystery novels and a man obsessed with games.  He’s clever, and he knows it.  Games of strategy and wit are what he lives for.  Shaffer once said he based parts of this character on his friend, Stephen Sondheim, who also  shared a love of games.

Unfortunately, his wealth and intelligence aren’t enough to captivate his much younger  wife. She has left him for the handsome young Milo Tindle (played by the also  handsome Jason Stokes). Wyke invites Tindle to his home to presumably discuss the  details of his pending divorce from his wife.

Sleuth surprised me in many ways. As I said, I didn’t expect this play to be much more than a witty farce. But it is much smarter than that. What begins as a situation comedy, with plenty of funny wit-matching and clever dialogue, becomes something far darker  and complex as the action unfolds. Wyke and Tindle aren’t the only ones playing  games here. This script was written to toy with the audience and their expectations as  well. Just when we’re comfortable and think we understand what this show is about,  Sleuth takes another turn - carefully placing its next piece.

Boyle and Stokes are well-cast in their roles as the jilted-but-proud novelist and the  young-but-not-so-dumb lover. It’s a tricky thing to go from quick banter to far scarier  places at the drop of a hat, but they do this fairly well. Their British accents aren’t bad, although a bit of Southern crept in every now and again. There were opportunities  where they could really brought out the more sinister moments of this play with even  more intensity, but I only saw this show on its opening night. With seasoned actors  such as these, I expect even more commanding performances as the show  progresses.

Randy Strange’s country manor set is impressive, with all the trappings of wealth  presented in a style you’d expect of Wyke. Alexis Doktor’s costumes are nicely done as well, although they seemed to lean towards the 1970 publication date of this play, rather  than the contemporary setting that is indicated by the use of a few modern bits of  technology throughout the show. There were a couple of technical glitches in the  performance I caught, but seeing Hunter Boyle play them off made me forgive thesesmall flukes.

I hope others aren’t put off like I almost was by what kind of play they assume Sleuth may be, because you really don’t know. Trust me. I would love to share more...but I’m afraid  that would just ruin the game.  The play runs through Sat. 11/23; call the box office for ticket information at 803-799-6551, or visit http://www.workshoptheatre.com.

~ Jillian Owens

"Venus in Fur" - a review of the new show at Trustus Theatre by August Krickel

Thomas is a serious author, determined to bring an influential work of Victorian eroticism to life on stage. Vanda is a brassy, uncultured actress. who assumes she's auditioning for glorified "S&M porn." Which she's totally down for.  His pencil-thin mustache, chiseled jawline, and rich baritone delivery channel his 19th-century protagonist, as he reads lines from classical poetry and his own play with passion and conviction. She shows up wearing lingerie and heels under a raincoat, although she assures him that "usually I'm really demure and sh!t."  He's Errol Flynn by way of Don Draper, dismissing her with a suave "if you will;" she’s Miley Cyrus, rendering his expression into the more modern "Whatever."

In Hollywood, this mismatched couple, played by Bobby Bloom and Jennifer Moody Sanchez, would be destined to fall in love. Off-Broadway, where David Ives's Venus in Fur premiered before a seven-month, critically-acclaimed run on Broadway, she's destined to tie him up and make him beg for more.  The new production at Trustus Theatre (which only runs through this weekend) is many things simultaneously:

- a seemingly straightforward, 2-person character study of actress and first-time director who begin  to take on the personas of their fictive counterparts as they run lines from his play.

- a recreation of the infamous 1870 novella, by Leopold von Sacher-Masoch, whose surname gave us the term "masochism," and who attempted to explain dominance and submission (from a man's perspective, anyway) in terms of reverence for an all-powerful, goddess-like image of female perfection.

- a contemporary examination of gender roles, and how women are portrayed and perceived in art, and in life.

- a murky journey through primal, mythological themes of mother goddesses and retribution.

- a covertly wicked satire of the audition/rehearsal process, where a director's routine instructions to a performer (e.g. "Stand there. No, more to your left. Now do the scene again. Again.  Stronger this time!") become a metaphor for S&M, and vice-versa.

- a fast-paced comedy, at times, with plenty of laughter and wit.

- a thriller in which both leads may have hidden agendas: how does Vanda know so much about Thomas's new play, and about his life? How is she able to give such a sophisticated reading, when Thomas feels she fails to understand even the basics of the character?  And is Thomas simply an up-and-coming playwright with vision, or does he have way too much attachment and connection to the themes explored in his work?  There's thunder, and lightning, and the way she loves him is frightening.

Bloom and Sanchez are alone on stage for nearly two hours, with no intermission (so be sure to visit the bar, and/or the facilities, just before curtain.) The play is a showcase for two talented performers, and they never disappoint. Both excel not only in embodying their primary characters but also in switching to their roles in the play-within-the play, whose own natures evolve as the show progresses.  As Vanda, Sanchez is all awkward arms and legs; as Wanda, the role she reads for, those limbs become elegant, willowy, and graceful.  She gets the majority of the laugh lines, while Blooms gets most of the play's eloquent ones, as when he describes how "two people meet, and ignite each other." Both are to be commended for bravery on stage, with Sanchez spending half the show in lingerie (although no more revealing than a typical swimsuit at the beach) and Bloom forced into moments of extreme emotional vulnerability.

The show is quite talky, esoteric, and abstract, with references to Tristan and Isolde, Paris and Anchises, Dionysus and the Bacchae.  Clues and red herrings, are dropped throughout as to what really may be going on, but when Thomas and Vanda reach an impasse, where he decides she is wrong for the role, and she implies that she never wanted it, something compels both to finish the scene, as if their fictive counterparts' lives are more important than their own.

A surprise ending may leave some feeling empowered from an uplifting and important, if shocking, message; others may feel cheated or short-changed. Scholars of theatre, history, and literature will appreciate a return to the form's most archetypal roots,  while a few  may simply echo the sorority girl from the viral video, saying "Wait.... what?"  I wonder if Ives began with a stage version of the original novella, then realized that it needed post-modern commentary and analysis via the framing device of the audition, and finally realized that he had painted himself into a narrative corner, with no way for a believable denouement. Or perhaps the final five minutes are the only logical way for this piece to play out, exactly as Ives intended.  However, as I expressed to the cast - this isn't hard when there are only two - screw the ending if you don't like it, because for me the play was all about the journey, not the destination.  It's a great chance to see two gifted young performers, capably directed by Jim O'Connor,  in the roles of a lifetime, and you will definitely be talking about the issues and themes addressed on your way home.

Because of the production’s limited run, there will be two performances on the evening of Friday, Nov. 15, at 7:30 and 10 PM. For more information or reservations, call the box office at 803-254-9732, or visit www.trustus.org.

~  August Krickel

Jasper/Nick Shakespearean Sonnet Contest

Shakespeare wrote 154 of them –

            You ought to have at least one in you.

“All the world's a stage,” William Shakespeare wrote, “and all the men and women merely players; they have their exits and their entrances, and one man in his time plays many parts.”

The question is: would you like to play the part of a poet?  Jasper Magazine and the Nickelodeon Theatre want to cast you in that role.

Announcing The Jasper Magazine – Nickelodeon Theatre Shakespearean Sonnet Contest, presented in conjunction with and in celebration of the Nick’s upcoming Forever and A Day: Shakespeare Film Adaptation Series, which will feature screening of movies based on Shakespearean plays. (Titles, dates, and details TBA soon.)

In addition to his stage plays, Shakespeare wrote 154 sonnets, and Jasper think that means you must have at least one in you.  What's a sonnet?  Jasper hears your high school English teacher sighing deeply somewhere in the distance, but here's a quick refresher:

14 lines of iambic pentameter.  That's fancy Greek, shoehorned into English, for 10 syllables per line, each with a short-long beat.  Example:  "The bumblebee was flying through the air," which sounds like "the BUMble BEE was FLYing THROUGH the AIR" when you read it aloud. Or "The Nick and Jasper Magazine are cool!"

The first three verses have to have an ABAB rhyme scheme, so the first and third line lines rhyme with each other, and so do the second and fourth. Example:

I saw a cat

Which saw a dog;

I wore a hat,

Because of fog.

And then the final two lines must rhyme with each other. 14 lines total, no more, no less. Google "Shakespearean Sonnet" if you need details or further examples.

The topic can be anything you wish, and up to three entries per person will be accepted.

DETAILS:

• Deadline is Sunday, December 8th.
• The winning sonnet will be published in Jasper Vol.  003, No. 003 (which will come out on January 16th, 2014) and will also be read at the opening reception for the Shakespeare Film Adaptation Series.
• There is no fee to enter.
• Do NOT put your name on your entry.
• DO include a cover sheet with your name, e-mail  address, and the name of your sonnet.
• Send entries to Editor@JasperColumbia.com with “Sonnet” in the subject heading.

Intimidated?  Don't be.  Just let your words flow “trippingly on the tongue,” as Shakespeare wrote in Hamlet. “Let your own discretion be your tutor: suit the action to the word, the word to the action.”

Have fun, and Jasper looks forward to reading your compositions!

FILMMAKERS INVITED TO PARTICIPATE IN SPARTANBURG FESTIVAL

HUB-BUB’s third annual Expecting Goodness Short Film Festival

gets underway this month with a statewide call to filmmakers.

The Expecting Goodness Short Film Festival is accepting filmmaker applications until December 31, 2013. If selected, filmmakers will get the opportunity to create a film adaptation of an award-winning short story by a South Carolina writer — and compete for juried prizes on festival night, June 14^th, 2014.

“This festival is an amazing opportunity for independent, South Carolina filmmakers,” says Chris White, co-director of this year’s festival. “Expecting Goodness connects filmmakers, writers, and the community like no other festival I know.”

Hub City, HUB BUB, and the Expecting Goodness co-directors are excited about what they have in the works for Expecting Goodness 2014. In its first two years, the festival grew exponentially, moving from The Showroom to a sold-out festival day at Chapman Cultural Center’s David Reid Theater.

This year, Contec, Inc of Spartanburg signed on early to be the festival’s headline sponsor, which will help the project grow even further and offer more to the community.

“Having a big-name sponsor like Contec support the festival from day one is exciting,” says Emily Reach White, co-director of the Expecting Goodness Short Film Festival. “It allows us to pursue some creative ideas for the project that we wouldn’t have been able to support otherwise.”

The organizers are working to expand the festival and welcome filmmakers from across the state by offering more screenings, more perks, and more prizes — 11 juried prizes in all. Their goal is to be the most hospitable, filmmaker-friendly festival in the state.

“Filmmakers who participate in the Expecting Goodness Short Film Festival, not only get to work with great stories,” says Cate Ryba, Executive Director at HUB-BUB “they also get the full organizational and promotional support of HUB-BUB, which means the chance to screen new work in front of hundreds of people.”

In order to be eligible to participate, filmmakers must be South Carolina residents who are 18 and older. Filmmakers must be able to fully commit to the project and meet all of the stated deadlines. In addition, filmmakers must be responsible for their own equipment, materials, and production costs.

To learn more about the festival and the eligibility requirements for filmmakers, go to expectinggoodness.com/application/