2 Arts Culture
Wednesday, April 23, 2008
________________ Clackamas
Rhythmically delightful musicflot
out of the Roseland Theater on A
Emily Walters
Arts & Culture Editor
Smooth, velvety simplicity
cast a spell over a varied audi
ence at the Roseland Theater on
the evening of April 13.
The downtown Portland venue
was host to the bluesy-alternative
group Cat Power, with the support
of the French band Appaloosa.
The concert was part of Cat
Power’s current tour for the band’s
most recent album, “Jukebox,”
which covers records from many
of the music elite, such as Frank
Sinatra and Janis Joplin, to name
just a couple.
Anne Laure of Appaloosa
opened the show, wearing a glit
tery, strapless, teal dress with a
black leather jacket. She took
up the first 30 minutes with sev
eral songs, including “L’Amour
Hard” and “The Day We Fell in
Love.”
While the blend of Laure’s
voice with a synthesizer was not
terrible, her performance might
have been more enjoyable jf her
dancing had not looked like a rab
bit doing jumping jacks, which
put her outfit in constant danger
of falling down.
When Cat Power took over
the stage, vocalist Chan Marshall
instantly began to hypnotize with
her raspy-chocolate voice.
Marshall stepped in front of
the crowd attired in tight black
jeans and an olive button-up top,
completing her ensemble with a
messily-tied black tie and white
lace-up flats. With the smoking
piano and organ player Gregg
Foreman, guitarist J]
bass player Erik Pa
drummer Jim White f
accompaniment, Mars
waltzed through the s
Among the bigges
night was “Ramblin’
a cover of the song
attributed to Hank
during which Marsh
crooned “some folks
say/I ain’t no good,”
would find hard to I
hearing her.
Another was the I
version of one of (
older songs, “Met
mixed to perfection
warbling guitar, soft
crashing cymbals.
“Silver Stallion” w
ly different direction,
reminiscent of old
music - no surprise i
originally by The Hi
Foreman accompanii
in the background.
The most entranc
though, was Patsy Cl
Got You,” which h
er beat that allowed
unique interpretation
shine through.
The band slowly I
for a break amidst c
clapping, leaving oi
consistent beat echoi
the crowd. It was i
again by the throbbin
beautiful organ, befo
group reassembled ti
the fantastic perform
For more informs
dates and to hear (
music, go to myspa
power.
All photos by Andrea Simpson Clackamas Print
ABOVE: Cat Power’s lead singer Chan Marshall sings huskily into the microphone in front of the
band. The drummer Jim White (behind) kept a solid beat going throughout the entire night.
RIGHT: Gregg Foreman, the piano and organ player, takes a long drag from his cigarette as his other
hand quickly dances its way along the keys. He also sang background vocals in one of the songs.
The Grand Tour comes to life at the Oregon Ballet The
Andrea Simpson
The Clackamas Print
The Oregon Ballet Theatre opened the third installment
of its Grand Tour series Friday, April 18, to a nearly sold-out
auditorium. The America program consisted of three works
and two intermissions.
The first work, “Through Eden’s Gates,” is a ballet set to
ragtime and jazz music with contemporary moves integrated
in a surprisingly natural cadence. The music is composed by
Pacific Northwest native William Bolcom and choreographed
by Kent Stowell.
Traveling in patterns and eventually coming together in
synchrony before twirling offstage, the dancers engage in
rounds of high-flying kicks to start the show.
One of the highlights of the solo and duet performances that
followed was that of Alison Roper and Ronnie Underwood.
Roper and Underwood executed a dance that smacked of
extremely flirty, salsa-inspired movements. They even did hip
sways that would have made Elvis proud. The sexual attrac
tion between the couple was almost palpable and undeniably
turned up the temperature in the theater.
Another stand-out routine was carried out by báHerina
Yuka lino. In the scene “Fast, Furious,” lino used sharp and
abstract motions to illustrate the range of the'ballet. When
joined by five male dancers on stage, she proved how quirky
and seductive she could be, both fending off and enticing the
men.
'
The ballet endec) in a reprise of its beginning, with thunder
ous applause from the audience.
In the next ballet of the production, “Just,” the performers
conveyed a message that spoke to the beauty of two human
bodies moving together and the harmony they can create.
In contrast to the previous piece, the music of “Just” is
more classical, featuring a variety of odd instruments such as
the jalatarang - a set of ceramic bowls that produce a range of
non-specific pitches when struck.
The costumes played an interesting role. They were
designed to look like the crossing ribbons on ballet pointe
shoes. The imagery gave the feeling of everything being
stripped away, leaving one remaining focus: the dance.
The costumes were very simple, there was no set and the
movements were distinctly modem. At one point, dancer Artur
Sultanov soloed to music that sounded like a ticking clock, and
his choppy, jerky motions reflected the passing of time.
“Just” is composed by Henry Cowell and choreographed
by Trey McIntyre.
The third and final ballet presented was “Slaughter on
Tenth Ave.” This combination of ballet and show-dancing
is set within the 1936 Broadway musical “On your Toes,”
choreographed by legend George Balanchine. Ima time when
American ballet was still estabfishing roots, Balanchine took
it to Broadway, and this piece definitely dates itself in the
1930s.
The plot involves a love triangle between a ballerina, a bal
let dancer and the choreographer. Throw a gangster waiting in
the actual audience into foe mix, and it is more of a comedy
routine than a ballet.
The dance is a combination of ballet, jazz and tap. Kathi
Martuza, as a striptease girl, was brilliant in foe way she per
fectly blended ballet and subtle striptease elements.
In fight of foe dramatic storyline, much of foe dancing in
this production comes in foe form of exceedingly exaggerated
moves, keeping foe audience in stitches.
The America program at OBT demonstrates that ballet is
not simply set to classical music and catered to a high-brow
audience. With popular dances like foe Charleston and bits of
seduction, foe show connects with individuals ft
of life.
Ballet is alive and well at foe Oregon Ballet T
The show runs April 18 through 27 and is foil
Russian program June 6 through 8.