P a g e B4
D e c e m b e r 2 9 , 1999
(SV ÇprlUuô (ßbseruer
1 Metro/ The Focus
Society and art converge in A Raisin in the Sun
A rtis ts R e p e rto ry T h e a tre
continues its exploration o f great
artists o f the century with Lorraine
H ansberry’s A Raisin in the Sun,
directed by Allen Nause, producing
artistic director at A.R.T.The play will
run January 11-February 20.
“A Raisin in the Sun explores
conflicts over heritage, race, personal
values and dream s,” Nause says “ In
a way that makes it both historic and
timeless.
“Forty years after the play first
prem iered on Broadway, American
society still struggles with conflicting
aspirations and dreams deferred.”
H an sb e rry w as the y o u n g est
A m erican playwright and the only
Black w riter to win the New York
Drama Critics Circle award for Best
Play o f the Year for A Raisin in the
Sun.
“All art is social,” Hansberry said
shortly before the play opened in
1959. “The problem is not whether
you write ‘social dram as,’ but what
you say about society - and whether
y ou
sa y
it
w ith
a r tis tic
integrity...G ood theater can affect
American life, reflecting and thereby
encouraging its best elements, and
A m erican life, with all its problems,
still has within it areas o f vitality and
persistence and search and dignity
that are going to be the source o f our
survival.”
A Raisin in the Sun is about the
dreams o f an impoverished Black
family living in a sunless, cramped
tenement in Chicago’s South side.
T he fam ily m atriarch receives a
substantial sum o f insurance m oney
left by her late husband and pursues
his dream o f escaping their cram ped
quarters fora house o ftheir own. Her
c h ild re n , h o w e v e r, h a v e o th e r
priorities.
The play preview s T uesday -
T hursday, January 11-13, opens
F rid a y , J a n u a ry 14 a n d ru n s
W e d n e s d a y -S u n d a y
th ro u g h
February 20. Performances begin at 7
p.m. weekdays, 8 p.m. Fridays and
Saturdays, and 2 p.m. Sundays, with
an additional 7 p.m. perform ance on
Sunday, February 20. Tickets are
$ 13.50 forpreviews, $ 15 to $25 for the
regular run, and may be purchased
through the A.R.T. box office, 503/
241-1ART.
Box Office
1. Any Given Sunday WARNERS
$21,300,000
2. The Talented Mr. Ripley
PARAMOUNT $13,800,000
3. Stuart Little SONY $40,200,000 3.
3. TIE Toy Story 2 BUENA VISTA
$179,700,000
5. The Green Mile WARNERS
$52,800,000
6. Man on the Moon UNIVERSAL
$13,800,000
7. Bicentennial Man BUENA VISTA
$22,500,000
8. Galaxy Quest DREAMWORKS
$8,100,000
9. Deuce Bigalow: Male Gigolo
BUENA VISTA $35,400,000
10. Anna and the King FOX
$13,500,000
National Video Rentals
1. “Austin Powers: The Spy Who
Shagged Me” (New Line)
2. “NottingHill” (Universal)
3. “Instinct” (Touchstone)
4. “ Arlington Road” (Columbia
TriStar)
4. “Election” (Paramount)
6. “BigDaddy” (ColumbiaTriStar)
7. “The Matrix” (Warners)
8. “The Haunting” (DreamWorks)
9. “Life Is Beautiful” (Miramax)
10. “South Park: Bigger, Longer &
Uncut” (Paramount)
Lenanne Sylvester as Ruth Younger, M elany B ell as Beneatha Younger
and Brenda Phillips as Lena Younger perform a scene fro m A Raisin in
the Sun.
In Print
Encyclopedia of Northwest Music
By James Bush
Sasquatch Books; 1999
Catapulted into the forefront o f the
music scene in the early 1990’s by
so m e g u y s fro m A b e rd e e n ,
W a sh in g to n , S e a ttle s u d d e n ly
becam e a music “boom town” - its
place secured on the nation’s map o f
regional music hot spots. Suddenly,
there was a “Seattle sound” and a
“Seattle scene” and people all across
the nation were even sporting a
“ Seattle style.” But for those who
had been living in the Emerald City
before the birth o f grunge, Seattle
had already been on the music map
for quite somp tim e and together
Seattle and Portland had long ago
established their ow n N orthw est
music scene.
From jazz greats to rock legends,
nationally acclaim ed music festivals
to symphonies o f world - class status,
the Northwest has been both the
hometown and the launching pad for
num erous artists in all genres o f
m u sic . The E n c y c lo p e d ia o f
Northwest Music: From Classical
R e c o r d in g s to C la s s ic R o c k
encyclopedia of
• northwest
music
From Classical Recordings
«
Perform ances, by Jam es Bush is a
com prehensive and entertaining trip
across the w hole spectrum.
This one-of-a-kind book identifies
the unique sound and place in m usic
history that artists in the N orthw est
have carved out for them selves and
their region. From Portland’s famous
bluesm an Robert Cray to Seattle’s
rock icon, Jimi Hendrix, the Northwest
is full o f musicians who have not only
established a regional sound, but also
have influenced the progress and
d ire c tio n o f th e e v e r-c h a n g in g
international world ofm usic.
The book’s editor, Jam es Bush, is
an aw ard winning staff w riter and
political columnist for Seattle Weekly
who has also written about the Seattle
music scene for 20 years. His work
h a s a p p e a re d in n u m e ro u s
p ublications including Backlash,
Hype and The Rocket, often under
the pseudonym , “J.R. H iggins.”
The Encyclopedia o f Northwest
M usic profiles more than 200 artists,
bands, groups and m ovem ents. It is
packed with photographs o f favorite
musicians, including some photos
never before published. Bush offers
ac ritic ’s recordpick w ith every artist
profile, and takes readers on a tour o f
all the m ajor artists, as well as m any
lesser know n m usicians who have
created and re-defined music in the
Northwest. H e points out m em orable
m o m e n ts
in
th e
r e g io n ’s
distinguished music history from the
50’s tot he present, and gives a full list
o f annual music festivals in the region.
T h e r e ’s a lso an e n tire se c tio n
highlighting “not to m iss” album s in
all genres. The book also contains
special essays written by contributing
music critics and editors recruited by
Bush from the heart o f the N orthw est
music scene.
“T hings have chan g ed in the
Northwest since m y first concerts at
the Param ount Theater and Seattle
Center A renabackin the late 1970’s,”
he says. “N ational bands would print
their tour itineraries in ads in Rolling
Stone or Creem. The bands would
start on the East Coast, swing through
the M idwest, hit the south, travel up
the w est coast to San Francisco and
stop. W e N orthwest kids would look
sadly at the obvious gap.
“These past slights w orked in our
favor: our isolation helped Seattle
and Portland develop distinct, talent
laden rock music scenes that could
then be ‘disco v ered ’ by national
magazines and record companies.
A fter N irv an a , P earl Jam , and
Soundgarden, nobody’s ignoring this
com er o f the country anym ore.”
National Video Sales
1. “Austin Powers: The Spy Who
Shagged Me” (New Line)
2. “ S av in g P riv ate
R yan”
(DreamWorks)
3. “Big Daddy” (Columbia TriStar)
4. “Yellow Submarine” (MGM)
5. “The Blair Witch Project” (Artisan)
6. How the Grinch Stole Christmas!
(Warners)
7. “Austin Powers: International Man
of Mystery” (New Line)
8. “Madonna: The Video Collection
93-99” (Wamers)
9. “A Christmas Story” (MGM)
10. “The Iron Giant” (Warners)
ç J û k n 'Y 'a e .
Im p o iJ a d
to Ctassk Rock Performances,
^ D k Y o u r Guide to the Best
j
of the Region
TM AJ’s
¥
à M
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We have h u m an & sy n th etic h air at low prices
Phone c a rd s a t 2.5 cents p e r m in
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O n th e c o rn e r o f 26"1 & A lb erta 331-1422
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Email us at thorresa@aot.coin
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Celebration Tickets
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Food, Champagne,
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2000
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Wallets
Pop's
Chips
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SATURDAY
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JA N U A R Y 8, 2000
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