Arts & Entertainment

Shoreline Presents: 'Fiddler on the Roof'

Friday & Saturday, May 21-22 Thursday–Saturday, May 27-29 7:30 p.m., Campus Theater

Screenplay by Joseph Stein Music & Lyrics by Jerry Bock & Sheldon Harnick Producer & Musical Director: Susan Dolacky Director: Greg Morales Conductor: Teresa Metzger Howe Choreographers: Holly Eckert, Karn Junkinsmith

First produced in 1964, “Fiddler on the Roof” is still one of the masterpieces of American musical theater. The story of Tevya, who struggles to uphold his old traditions in a changing society, and his problematic family will appeal to people of every culture, nationality and religion. Come enjoy the celebrated melodies “Matchmaker,” “Sunrise, Sunset,” and “If I Were a Rich Man.”

Ticket Prices:
$14 General Admission; $10 Seniors, Faculty, Staff; $8 Children and SCC Students. Call 206-546-4606 for ticket information.

Information provided by the Shoreline Community College website.

The Droney Mitchells play Graceland

Jessica McDaniel
Ebbtide Copy Editor

Between riding the monitor like a horse and crooning to a building-support post, “I’m not the cause of your pain,” Jeremy Lightfoot shakes up the stage like a man possessed. The Droney Mitchells play rock music.

Local band The Droney Mitchells is Jeremy Lightfoot (vocals and bass), SCC student CJ (guitar and vocals), Cameron Brownfield (guitar and vocals), and Kevin Sawka (drums). On Wednesday, May 19, the band played a show at Graceland in Seattle, Wash., with Tourist, Bench Grinder, Sylphid and Good Looks the Playboy.

Having heard their recorded songs first, I was surprised at how much louder the band was on stage. The song “Crack Cocaine,” which sounded unconvincing in my living room, turned out to be a crowd favorite (as songs about drugs tend to be) and one of their best songs of the night. Lightfoot’s antics kept the stage alive while the rest of the Droney Mitchells backed him with solid quality music. With two guitars, bass, drums, and vocals, The Droney Mitchells can make a lot of noise.

Their recorded music is much softer. The vocals and guitar are incredibly melodic, and both soothing and commanding. While the recordings don’t rock as hard as “Crack Cocaine” does on stage, they exhibit the band’s maturity and highlight their songwriting skills. The song “Smart Bombs,” is a good example of that skill. It contrasts an ambitious, solitary vocal melody with a chorus both heavier in theme and sound.

Wednesday was their first show at the Graceland, but hopefully not their last. The band has recorded songs for a yet-to-be-released EP, and will be playing at the Jet Deck in Everett on May 28. For more information about the Droney Mitchells, visit their website at (www.thedroneymitchells.com), they post their upcoming shows online, and have an mp3 available to download. If you ask nicely at the message board, the band will send you a few tunes to listen to.

Shoreline Shorts

One-act plays to showcase SCC talent

Leah San Mateo
Ebbtide Staff Reporter

The SCC Drama Department will be showcasing an experimental evening of new works featuring six one-act plays. The plays are written and directed by students, faculty and local Seattle playwrights; almost all the actors are students. Each play is approximately 10-15 minutes long. The event, called Shoreline Shorts, will take place in the lobby theatre at 7:30 p.m. on June 2-5. General admission $8; seniors, faculty and staff $7; students/children $6.

“Flower” Writer: Dawson Nichols Director: Tony Doupe “Flower” is a comical piece on man’s search for spiritual identity.

“Cajun Buds, Exotic Animal Ranch and Souvenir” Writer: David Golden Director: Tony Doupe “Cajun Buds” is a comical piece that deals with mythical beasts.

“Murderer”
“Buyer Beware” Writer: Don Rockwell Director: Don Rockwell Both plays deal with the harsh realities of being a human being.

“Roll Away the Stone” Writer: Louis Broome Director: Louis Broome “Roll Away the Stone” offers a distorted look at relationships and dating.

“The Breakup” Writer: Corina Sugaran Director: Chris Nielson “Breakup” is a story about a hit-man who is unable to make a hit.

Enertia Dance Company rises one step at a time

Student talks about involvement with up and coming performance group

Ericka Berg
A & E Editor

Shoreline photography student Sage Benning has a lot on her plate these days. Between school and her job at the photo-lab, she also manages to raise money for the northwest’s most promising new dance company, “Enertia.”

Benning, who is on the company’s board of directors, knows what it takes to grow a small non-profit. She first became involved with “Enertia” five years ago when her pal Danielle Payton formed the dance company as part of a senior project at Roosevelt High School. Since then, the troupe has doubled in size and in strength.

As a performance group, “Enertia” stands out from their contemporaries. Their modern repertoire incorporates all forms of movement and styles of dance; suggesting a combination of inertia and energy. Inspired by the group’s energy and enthusiasm, Benning joined in 2000. “I was immediately attracted to this unique company,” said Benning. “Where else would you see ballet and break dancing on the same stage?”

Benning danced with the company for about a year but then gave it up when the pressures of school and work became overwhelming. During her break from dancing, “Enertia” blossomed from a fledgling project into a grown-up company. “A handful of promising young dancers and friends from the community joined, adding a professional dynamic that had been lacking, “said Benning. At the encouragement of her friend, Benning rejoined and helped organize their first full-length performance. The sold-out show was a huge success.

Step by step, “Enertia” continued to grow. In 2002, they became a non-profit corporation with the goal of dedicating their services to the betterment and education of the community. By this time, Benning had volunteered as the Board’s Treasurer. The troupe was soon performing at school assemblies, private parties and as guest performers with the young dance company “Kaleidoscope.” Benning notes that Anne Gilbert, Director of “Kaleidoscope,” became the group’s mentor, providing them with much needed support and guidance.

For Benning, “Enertia’s” success is based on group effort and networking. Financial support comes from various sources, such as ticket sales, concessions, donations and grants. They even developed their own line of clothing. Last August, the company raised enough funds to travel to Salvador, Brazil for an international dance conference. So far they’ve been able to raise enough money to cover their expenses and also pay for guest choreographers. The additional funding has enabled them to work with local and international talent. “It’s been a tremendous leap for us to hire choreographers who represent different styles,” said Benning.

Meanwhile, the group continues to perform at public and private events, and also teaches children’s classes in hip-hop and break dancing. Benning gave up dancing to pursue a career in photography. Though no longer the Treasurer, she’s still an active member of the Board and is also in charge of fundraising. She’ll be at the next show selling their fashionable line of clothing.

In June, “Enertia” will celebrate their success with a Fifth Anniversary Performance. Due to past demand, they will perform five separate shows. “This will be our biggest and best yet,” said Benning. “This show celebrates that we made it.”

Show times: June 10, 11 and 12; 8 p.m. June 12 and 13; 3 p.m. Velocity Main Space Theater 915 E Pine St., Seattle Choreography by Shirley Jenkins, Danielle Payton, Kerri Lynn Nichols, Daniel Linehan, Robert Luu, Carly Pansulla and the Enertia dancers.

Tickets Info: $10 in advance $13 at the door Tickets can be purchased at the door, ordered through ticketwindowonline.com, or reserved by emailing enertiadance@hotmail.com

SCC students can also purchase tickets from Sage Benning in the VCT Building Photo Lab.

Students to spend summer in the spotlight

Young singers selected to perform in off-campus opera productions

Ericka Berg
A&E Editor

Drama, lush costumes, live orchestras and applause will be waiting for SCC music students Leo Jackson, Geam Lim, Gabriel MacDonald and Juliana Brandon when they finish school this quarter. All four students were recently selected to sing in summer opera productions. Jackson, Lim and MacDonald will sing in the chorus for the Seattle Opera’s production of Richard Wagner’s “Lohengrin.” Brandon will sing in two operas with the Austrian American Mozart Academy in Salzburg, Austria. She will sing the parts of Barbarina and the second maid in Mozart’s “The Marriage of Figaro,” and Sylviane in Lehar’s “The Merry Widow.”

Seattle Opera The excitement is brewing for the three young men selected to sing with the Seattle Opera. After all, it’s not often that students get to perform in a big -stage production. Leo Jackson, 19, was caught off guard when he found out about the Seattle Opera audition. “We weren’t expecting it to be an opportunity,” said Jackson. “The fact that it happened at all was a big surprise.” Although surprised, all three students feel confident about singing in the big league. “It’s something we’ve been preparing for throughout the year,” said Jackson.

With the big opera companies, preparation is the key to success. Music instructor Susan Dolacky stated that only students who have good training are sent to auditions. They are typically second or third-year music students with performance experience. The recruits (Jackson, Lim and MacDonald) have all performed on campus in the winter Opera Workshops, and/or in last year’s musical production of “Cabaret.” Jackson is also performing this month in “Fiddler on the Roof.”They found out about the chorus openings for “Lohengrin” through Susan Dolacky. When Chorusmaster Beth Kirchoff from the Seattle Opera contacted her for male singers, she and instructor Fred Lokken chose the three candidates from Dr. Lokken’s voice studio. Is this the beginning of a career in opera for these three young men? Dolacky stated that most new recruits are hired seasonally; however, there is the possibility of staying on throughout the year. The Seattle Opera currently has five to six Shoreline alumni who are now regular chorus members. “This is the chance of a lifetime for these students,” said Dolacky.

Not only will the latest Seattle Opera recruits get to bask in the spotlight, they will also be paid for their participation. Gabe MacDonald, 21, is ecstatic about the opportunity. “It’s exciting to be able to work in such a big, professional atmosphere,” said MacDonald.

“Lohengrin” runs from July 21 to August 21. For showtime and ticket info visit: www.seattleopera.org

AustrianAmerican MozartAcademy (AAMA) Soprano Juliana Brandon, 25, will be spending her summer in Salzburg, Austria, hanging out in cafés, exploring the sights and, most importantly, singing Mozart. Brandon was chosen to participate in an opera workshop affiliated with the University of Texas in Austin. The program gives young singers the chance to sing in full opera productions with an emphasis on the work of Mozart. At the same time, participants take classes in German diction, opera improvisation, the history of Mozart and performance technique. Brandon will have the opportunity to study in master classes with instructors selected from major opera companies in the United States and Europe. According to the AAMA, approximately 30 students are selected each year by audition.

Brandon was quite surprised when she found out that she was accepted into the summer program. The Academy originally sent her a rejection letter, but then offered her three roles. For Brandon, the opportunity to sing and study in the birthplace of Mozart is a dream-come-true. She has admired Mozart all her life and considers herself a walking encyclopedia of his work. “He writes the most beautiful melodies,” said Brandon. “He’s also my favorite personality of all the composers; he’s the one I’d want to sit down and have a beer with.”

The workshop in Salzburg will require a lot of hard work, but Brandon is looking forward to it. She’ll get to work with accomplished musicians from around the world while walking in the footsteps of her favorite composer, Wolfgang Amadeus Mozart.

The AAMA program takes place from July 7 to August 14. A fund-raiser is being organized to help raise money for Juliana Brandon’s trip. If you would like to contribute, please contact Susan Dolacky in the music department (sdolacky@shoreline.edu.

To learn more about the Austrian American Mozart Academy, visit www.singmozart.com.

'Golden West': The original spaghetti western

David Lasky
Layout Editor

There is a sign in t he lobby of the Seattle Opera house that says: “Please note: Gunshots will be fired in tonight’s performance.” It’s not a joke. Guns are fired on stage, when you’re least expecting it, usually to herald the entrance of Minnie, saloon owner and star of Puccini’s “Girl of the Golden West.” The gold in the title refers to the California Gold Rush. The opera is set in a 19th century mining camp where young men have come to seek their fortune. But this isn’t your typical Western because, being an opera, all the parts are sung. And because it was written by one Mr. Giacomo Puccini, these cowboys sing in Italian.

While all the men of the camp love the pure-hearted Minnie, a gambler named Jack Rance hopes to marry her. She is able to use the fact that he is already married to deflect his advances. Minnie, who reads to the men from the Bible, is still saving her first kiss for the right fellow.

The drama begins when a mysterious stranger appears in the camp and vies for her affection, immediately arousing suspicion and jealousy. Meanwhile there is talk of a bandit in the hills who is after the miners’ gold. The plot incorporates what would later become strong elements in Western films: a mysterious stranger, a female saloon owner who takes no crap, (sadly) childlike Native Americans, a poker game that decides a man’s life, and civilization making its way into the wilderness.

In the late 1960s Americans were befuddled and amazed by a slew of cowboy movies that came out of Italy; they were directed by Sergio Leone, and often starred Clint Eastwood. This novelty, of Westerns made by Italians, gave rise to the nickname “spaghetti westerns.”

Puccini lays the groundwork for what would later become signature elements of soundtracks to spaghetti westerns by having the orchestra imitate the sounds of galloping horses, and working train whistles. While Italian singing cowboys seem a bit odd at first, the American West was not just populated by English speakers. Asians, Africans, and a horde of Europeans (including Italians) brought railroads and strip malls to this unsuspecting land. Puccini attempted to bring the rough-and-tumble of exotic America into the world of European opera for the first time.

Still, this is not “The Good, the Bad, and the Ugly.” It is its own thing. Puccini wrote it for the Metropolitan Opera while visiting New York City, basing it on a play by David Belasco. It made its premiere in 1910. His only knowledge of the Western United States was based on things he’d read and heard.

The civilizing influence of Minnie, the one “humanist” in the entire mining camp, is what carries the opera. She values love over money, turning down an offer of $1,000 for a kiss. She teaches the men that sinners can find redemption, and serves as sister, mother, and daughter to them. In this fantasy world of the Italo-fornia, love and kindness are more powerful than guns and gold. It’s a world worth visiting, if only for a few hours.

The opera is expensive, but there are a few ways around that. Students can receive a 50 percent discount at McCaw Hall, with proper ID, when buying tickets at the box office on the day of the show. May 23 is family day: children age 5 to 18 can see the opera for $15 when accompanied by an adult. More details can be found on the Seattle Opera’s Web site: www.seattleopera.org.