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About The Clackamas print. (Oregon City, Oregon) 1989-2019 | View Entire Issue (April 27, 2005)
rts ¿^Entertainment April 27, 2005 ^tlLACKAMASPf^flf esus Christ rocks the house zabeth Tobey Clackamas Print > >hts dim, the live band sofit- iins to play, and the voice of rings out over the audience idiant Theatre’s production classic rock musical, “Jesus I Superstar,” begins. ider the direction of Anna feerg, the Portland-based I company brings together ilectic group of perform- id musicians to present the al version of the life and !of Jesus Christ, played by tide Bell. ;companied by a live five- band, musical director imin Van Diepen brought credible vocal performanc- pn all the leading roles, and tally from Judas, as por- I by Collin Warren. le ensemble was composed 3 members and included ranging in age from ;sev- grader Cara Gabrielson, ieerful, gray-haired Gary son. iroughout the story the able was kept busy chang- Ostumes to portray the fol- s of Jesus, the servants of Caiaphas, or Herod’s posse. With vocal work and clever staging, they effectively set the scene, filled out the story and engaged the audience with their energy, enthusiasm and emotion. An extremely physical show, choreographer Hannah Ballou had actors leaping off of platforms, doing cartwheels and back-flips across the floor, and shaking their booties as they danced their way through the story. Refusing to conform to any theater standards, the band was on the stage and the performance took place on platforms on the floor and in the lobby. The audience was seated on benches around the main floor, and ushered into different rooms throughout the evening. Costuming for the show was mostly a mishmash of vintage pieces most likely collected from various thrift stores. Matching scarves identified the apostles and a red color theme, along wiih original, handmade masks, iden tified the “evil” from the “good.” Combining the ancient, sacred themes from the show with mod em political history, the produc tion forces viewers to address the parallels between the events of Christ’s time and current political struggles between Palestine and Israel. As Jesus is left to die, the actors move slowly through the audience, handing out olive seeds. The director’s note in the program explains that over 500,000 olive trees that have been uprooted in Palestine in the last five years due to the Israeli wall construction. As the show comes to a close the audience is left smiling through teary eyes and solemnly reminded that the story isn’t over yet. Radiant Theatre Productions will be per forming the show for two more weekends at the Scarlett Ballroom, located at 700 NE Dekum in Portland. Shows are April* 129, 30, May 1, 6, 7, 8, with sign language interpretation on April 30. Call 503-502-8261 for reser vations. Tickets are $15, and just $8 for stu dents with ID, and - it couldn’t come . with a higher Jjj recommenda- tion. BELL MjBBfasBurtesv of radianttheater.org veryone Orchestra big success Hey, 001 w you, buddy m Krause Clackamas Print Everyone Orchestra was cess this year, raising funds awareness for the Pangaea ct, a local non-profit, and delivering a performance of lificent proportions. lursday started with bassist ickhardt saying: “From the to the south, to the east to rest, from the bottom to the le to the top, Seven con- ms for seven directions for 1 connections, and we don’t k rst on stage was Libby jatrick, a singer/songwriter a soprano voice that sighs any loneliness. She let notes mt and sustain.: ext a bluegrass trio hit the . Billy Nershi with folk style Scott Law leading the way tally, Tye North burst through hopping rhythm and country on the bass. len the percussionists joined on stage. Jon Fishman really ered with consistent beats, ael Travis took to his kit precision, or he was under nfluence. Matt Butler had a drum set that was made of hand drums. Even the kick drum looked like a modified djembe. But it was Jamie Janover’s ability on the hammered“ dulcimer that grabbed my attention. A hammered dulcimer play er is hard to come by. Between sets, I spoke with Asher Fulero, the keyboardist and sampler for the night. “I graduated high school in 1995 and headed to U of O,” he said. After studying piano for 14 years, he felt it was a natural choice to major in music composi tion with an emphasis on theory and analysis. Sam Krause Clackamas Print Fulero started out the Billy Nershi of String Cheese Incid- second set with some clas sically influenced music dent leads the Orchestra in a song. reminiscent of Bach’s abundant use of notes and Mozart’s ing force at the show. He had a dainty yet dramatic qualities. smile plastered on his face that Eckhardt and a young Indian signaled true enjoyment of the woman, Tavari Agoshu, rah the music he played. Everyone present truly enjoyed stage for a while. Kai mdde his bass flow smoothly along to Agoshu’s the show. From the squarest of the traditional dancing, singing, chant geeks to the headiest of the hip- pies, no one left the show disap ing and beats. Aaron Holstein was an amaz pointed. . Ben Maras || Tfe Clackamas Print We all know how to count on our fingers, but what if I were to say that there was a new and improved meth od? A method which would allow one to count to 31 on one hand, and 1,023 on two hands? This form is a two-based number system called binary. For those who are unfamiliar with the idea of a two-based number system, it’s quite simple; it’s a system of count ing based on using only two digits, 1 and 0. If that sounds Iponfusing, bear with me. The first thing is to make two fists. Now turn the fists fingers up. This is zero. Now put out the thumb on your right hand—that’s number one. The value of the thumb of the right hand is always one, something very impor tant to keep in mind. Now put the thumb down, and extend your index finger, this is the number two. Still pretty easy. Now it may get more confusing. What would one think the number three was? No, it’s not the middle fin ger. Extend the index finger,: and the thumb. Two plus one equals three, therefore that hand position is three. Now for the number four: Being as there are no more numbers to add, since all the fingers before that are up, the number four is just the middle Sam. Krause Clackamas Print iy 100 people attended the Everyone Orchestra community drum workshop on Friday, 115. The group’s percussionists led the workshop, giving tips to Portland’s drummers. finger, with nothing else. In short, each finger doubles in value, and all numbers are made through combinations of numbers added together. For example, the number six would be the middle finger (four) and the index finger (two). If fingers down equal 0 and fingers up equal 1, this would look like 00110. This makes it possible to count to extremely high num bers (-1,023 to be exact) with just ten fingers. When you fin ish on one hand, with all the fingers extended (the number 31), you would close all the fingers on your right hand, and begin with the pinky on your left hand extended, which would be 32, or writ ten in binary: 00001 00000. A number like 47 would be written in binary as 00001 01111—all fingers on the right hand extended, except for the pinky, and the pinky : on the left hand extended. What is the point to this skill? Well, nothing really, but it does enable one to count to very high numbers, and it makes it impossible to lose place while counting, because one glance has the number literally written with your harids. Fun ones to try; four, five, 18 and 22. So next time you’re driv ing down the street and some idiot cuts you off, you can just tell him that he’s number four, knowing that you have acquired the arbitrary skill of how to count on your fingers.
