StagePass Nov/Dec2012

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StagePass Magazine features theater and the performing arts in the region east of Sacramento California. It is published six times a year by El Dorado Musical Theatre (EDMT)

Transcript of StagePass Nov/Dec2012

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Performing at Folsom Lake College Three Stages Performing Arts Center

916-941-SING (7464)www.edmt.info

For more information:For tickets:

www.threestages.net916-608-6888

Bargain Thursdays all seats $14.75. Standard ticket prices from $18–36. Group discounts available.

Sponsored in part by:

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IN THIS ISSUE:

10 Questions with Piano Virtuoso Jeffrey Siegel . . . . . . . . . . . . . . . . . . . . . . 4

Why We Love The Nutcracker Ballet . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Bringing Seussical to Life On Stage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Performer’s Helping Their Community . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Guide for Upcoming Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Great entertainment at Three Stages and in your community

STAGEPASS IS PUBLISHED SIX TIMES A YEAR BY EL DORADO MUSICAL THEATRE.

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COPYRIGHT © 2012 EL DORADO MUSICAL THEATRE.

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10 QUESTIONS

Amid the audience’s laughter,

Jeffrey Siegel describes how Beethoven’s Für Elise came down to us dedicated

to the wrong woman . . .

with Piano VirtuosoJeffrey Siegel

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THE ORIGINAL TITLE, probably incorrectly transcribed, referred instead to Beethoven’s student Therese Malfatti, to whom he proposed in 1810. She turned him down, Siegel wryly remarks, ‘preferring instead a good-looking, wealthy, aristocratic landowner.’

For over 40 years, piano virtuoso Jeffrey Siegel has been perfor- ming his informal, illuminating, concert-plus-commentary Keyboard Conversations. These performances share his delight in classical compositions, while revealing insights about their composers and the pieces themselves.

In 25 cities around the world and in a recent PBS special, Have a ‘Keyboard Conversation’ with Jeffrey Siegel, he has captivated his listeners with vivid descriptions of what is unique about each of the pieces they are about to hear.

In storytelling, Siegel makes the experience of listening to classical music accessible and entertaining for everyone, winning new friends for classical music in the process.

Q. KEYBOARD CONVERSATIONS IS NOT YOUR TYPICAL CONCERT. ORDINARILY, A PERFORMER COMES OUT, TAKES A BOW, SITS DOWN, PLAYS, THEN TAKES A BOW, AND LEAVES. YOU, HOWEVER, TAKE YOUR SHOW TO A LEVEL WELL BEYOND. WHAT’S THE INSPIRATION BEHIND YOUR DIFFERENT KIND OF PERFORMANCE?

Well, it is, and it isn’t a typical concert. It’s a concert that’s solo piano music, and every work on the program is performed straight through.

But it is also a presentation—meaning that before playing each work, I speak briefly about the piece of music that the audience will hear.

I do this hoping that whatever I say about the composition will make the listening experience more meaningful, more focused, more accessible, and more inviting.

Listeners feel that they’re on the inside track as they’re hearing the piece of music. Hopefully they will appreciate it more as a result of the

little bit that’s been said about it than if I just sat down and played the piece.

As for inspiration, I hear people say, “I listen to a lot of music. I have a large CD collection. I listen to the FM radio; I go to a lot of concerts. But I would like my listening experience to be more meaningful than an ear-wash of sound – the music going in one ear and out the other. Can’t you make a more meaningful and substantial listening experience for someone like me?”

I also meet people who say, “I know I’m missing something not having Chopin in my life. I’ve never been to a concert before.”

The Keyboard Conversations format was developed for these

listeners – the avid music lover who wants more than just the concert without commentary and also the would-be music lover.

Everywhere I do the programs, there’s a mixture of the avid music lover and the person who might be hearing his first concert. This is what is so touching about doing these programs. The appreciation of music is increased through the programs, and we’re making friends for classical music.

Another difference between formal concerts and the Keyboard Conversations is that each program concludes with a short question-and-answer bit. The audience is encouraged to ask whatever questions they like, and it can be anything from, “What edition did you use of that Chopin nocturne that you played?” to “How many hours do you practice?” and “Did your mother make you study?” This breaks down the wall between that guy on stage and the audience.

Q. NOW, THIS IS A SERIES OF CONCERTS, AND NO. 2 IN THE SERIES IS IN NOVEMBER IN FOLSOM. WHAT WILL THAT EXPERIENCE BE LIKE?

‘‘ In STORYTELLING, Siegel makes the experience of LISTENING to classical music ACCESSIBLE and entertaining for everyone.’’

5 Photo © Peter Schaaf

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Most of the places where I do Keyboard Conversations are ongoing series, four visits a year. For example, I’m currently in the Twin Cities where tonight’s program is part of the 25th anniversary season of Keyboard Conversations. In most of the cities where I do them, they seem to be a welcome addition to whatever else is going on.

In Chicago, at Northwestern University, it’s been 42 years; Phoenix, Arizona, is 33 years. We’re also having their 25th anniversary in the college town of Madison, Wisconsin.

It’s very gratifying for me. Once people become familiar with this commentary format, they want to hear different composers. And the piano repertoire is so large and fantastic that one could go on for 100 years, 10 times a year, and not cover everything.

Q. HOW LONG AGO DID YOU START KEYBOARD CONVERSATIONS?

The longest running one is in Chicago, my native city; I’ll be there Friday to open what will be the 43rd season of Keyboard Conversations.

Most of my performing career has been in white tie and tails, playing formal concerts, but in the last 10 years, Keyboard Conversations have taken over my professional life.

I have over 90 concerts during this season. The format seems to be welcomed, and once it’s established, people come back, and bring friends, and that’s how it grows.

Q. WHAT’S THE DIFFERENCE BETWEEN DOING, SAY, A KEYBOARD CONVERSATIONS PERFORMANCE AND PERFORMING WITH THE BOSTON PHILHARMONIC?

The difference between the Keyboard Conversations and any other concert is when I play the piece I’ve talked about, I feel the audience listening with rapt attention and enormous absorption.

Music does not need anybody to say anything about it. It speaks very, very well for itself. However, if there is something that you can say that enriches that listening experience, when I sit down to play the piece I’ve talked about, the audience is really involved. It’s active listening rather than passive.

Q. IS PART OF THE CONCEPT THAT OF BEING NOT JUST A PERFORMER, BUT A TEACHER?

I’m wary of talking about teaching. It’s not a lecture. Yes, there’s an educational dimension to the Keyboard Conversations, but the “E” words that I like better are entertaining, enthralling, enjoyable.

Those are better “E” words for me than educational.

When I first started doing them, I called them lecture concerts, and right away, somebody came backstage and said, “These are not lectures. It’s more informal than that.” That’s how the title, Keyboard Conversations, came about. It’s not a Victor Borge show, but it’s humorous. The guiding light for me in doing these was Leonard Bernstein’s programs.

Bernstein could do it so you

‘‘The GUIDING LIGHT for me in doing these was LEONARD BERNSTEIN’S programs. Bernstein could do it so YOU LEARNED a lot but didn’t feel lectured to.’’

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learned a lot but didn’t feel lectured to. The last conversation I had with him was about Keyboard Conver-sations. I was made the soloist of the New York Philharmonic the same week Bernstein was conducting there, so we were seeing one another every day.

He said to me, “It’s great to be here being soloist of the New York Philharmonic, but these Keyboard Conversations are the most import-ant work that you’re doing. Always make time for them.” That was very meaningful for me. And of course, he said, “I know about these

programs. Jeffrey, I know where you got the idea.”

Q. TELL ME ABOUT THE CONCERT YOU HAVE PLANNED IN NOVEMBER. WHAT ARE YOU GOING TO BE COVERING?

The Romantic Music of Chopin is the title, and we’re going to be having some of his best loved works, many of them having interesting stories behind them, others having fabulous musical ingredients.

The famous Polonaise, for example – “Yum, da-dum, da-da-da-da-da-dum” – when you really take a moment to look at the piece and share this with the audience, they enjoy hearing it all the more.

We’ll talk a bit about what’s going on in Chopin’s life when he writes certain pieces of music that are on the program. And we’ll talk about the paradox that he writes scherzo, which means lighthearted and smiling and fun, and writes one of the most dark, demonic pieces of music ever.

Q. CAN YOU TELL ME A LITTLE ABOUT YOUR MUSICAL JOURNEY? WHEN DID YOU DISCOVER MUSIC?

I’m the son of a musician. My father was a string bass player in the Chicago Symphony Orchestra, so there was always music in the house.

As far back as I can remember, I had wanted to play the piano. I really didn’t start practicing seriously until I was in my early teens. Nobody pushed me. I had the opposite of prodigy parents.

I auditioned for a statewide competition in Chicago in the late ’50s, and the winner would play a

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Below: Jeffrey Siegal’s Keyboard Conversations® — The Romantic Music of Chopin will perform in Folsom on Wednesday, November 14, 2012.

concerto with the Chicago Symphony Orchestra. I won at 15 and played the 3rd Beethoven Piano Concerto with the orchestra, and that was it. I felt this is what I’d like to do if I possibly can.

I went to Juilliard and studied with Madame Rosina Lhevinne who taught many wonderful American pianists. My career didn’t happen like a meteor. It was a step-by-step old-fashioned building of a career, winning competitions, auditioning for conductors like Eugene Ormandy and Georg Solti and Pierre Boulez .

For Keyboard Conversations, I was inspired by watching Mr. Bernstein, and I wondered if I could do something like that to further people’s appreciation of music.

Juilliard in the early ’60s, began sending students to various schools and rotary clubs to give a half-hour program, but with no program notes. You had to announce each composition and say something about it. Nobody told us what to do. We were thrown into the pool and had to sink or swim.

Q. LOOKING BACK, DOING THE KEYBOARD CONVERSATIONS, ARE THERE PARTICULAR MOMENTS THAT STAND OUT FOR YOU?

I was soloist with my dear friend Leonard Slatkin with the National Symphony Orchestra at the Kennedy Center a few years ago. And I was asked to stay on and play one extra concert—not white tie and tails at

the Kennedy Center at night but a short program the next morning for 2,000 school kids who were being bussed in.

It was so noisy that I would have preferred not to play the concert at all. But I played a program that works for young people, and they were attentive, and applauded, and enjoyed it. What was most touching —as I was walking out the stage door, an 11-year-old got off the bus and confided to me, “Hey, Mr. Siegel, Beethoven’s not that bad.”

Another touching moment—I met a woman whose son was overseas at war, and she came backstage in Gaffney, South Carolina to say, “I have not been able to get out of my mind 24-hours-a-day the

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danger my son is in. But the two hours that you took me into this music just took me away. It was the greatest thing that could have happened for me, and it’s going to sustain me for a long time.” When you hear things like this, you feel what you’re doing is worthwhile.

Q. YOU’VE BEEN DOING THIS FOR A NUMBER OF GENERATIONS. HOW HAVE THINGS BEEN CHANGING? IS IT DIFFERENT FROM 20 YEARS AGO?

I think the biggest difference is that classical music is not valued as it once was nor supported nor attended as it once was. So the need for Keyboard Conversations to make friends for classical music is greater now than it was four decades ago.

It’s a paradox in a way. We are living in the most robotic, compu-terized, impersonal age there has ever been. The need for what great music offers a thinking, feeling human being is greater now than 40 years ago. Yet there’s been a tre-mendous diminuendo of interest and support and attendance for classical music concerts. Keyboard Conver-sations tries to reverse this trend.

Q. YOU PERFORM AT VENUES AROUND THE COUNTRY. HOW DO YOU LIKE PERFORMING IN FOLSOM?

It’s a real pleasure to play at Three Stages. First of all, the facility itself is absolutely magnificent. The acoustics are great, and yet there’s intimacy. Everybody feels part of the program. And the audience has been so wonderfully warm and receptive to these programs—they really listen with rapt attention.

You really feel they’re happy to be there; they’re getting something out of the music; they appreciate the extra dimension of what the Keyboard Conversations offers. They even laugh at my jokes.

We usually have a CD signing after most of the concerts where many listeners have been very kind and told me how much they

appreciate that I come there. It’s already developed a certain warm, intimate, almost family aspect. And this is something, as a traveling artist, you greatly appreciate.

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You can hear Hear the next Keyboard Conversations® With Jeffrey Siegel — The

Romantic Music of Chopin, on Wednesday, November 14, 2012 – 7:30 p.m.

Tickets are available at www.threestages.net.

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A Holiday Traditionby German Romanticist writer E. T. A. Hoffmann. Hoffman wrote of young Marie Stahlbaum (often changed to Clara Silberhaus in later versions), who is given a special present by her godfather, Herr Drosselmeier, at her parents’ Christmas party.

It appears to be a simple nutcracker doll but the story explains that it is really the embodiment of Drosselmeier’s beloved nephew who was turned into a statue by the spell of an evil Mouse Queen.

The girl becomes enchanted with the present and sneaks out to see it at midnight. Instead, she finds her nutcracker and toy soldiers fighting the army of the Mouse King. With her help, they win the battle and the nutcracker is turned into a handsome prince.

They travel together to a fantastical land where she sees many wonderful things and extraordinary characters like dancing confections and the magnificent and beloved Sugarplum Fairy.

She falls in love with the prince, but later drifts off to sleep and is

CHANCES ARE, WHEN SOMEONE MENTIONS THE

WORD ‘NUTCRACKER’ TO YOU, your mind will instantly retrieve swirling memories of bold music and leaping ballet dancers, rather than simple

kitchen hardware.It doesn’t seem to matter

whether a person is a dance aficionado or a complete stranger to the performing arts. Somehow we’ve all managed to have at least some small part of this master-piece imprinted upon our minds.

What is it about The Nutcracker that has kept it playing on Christmas stages across the country for over

half a century?

THE STORY OF THE

NUTCRACKER

The Nutcracker, in its current form, is a famous ballet with a musical score written by the legendary Russian composer Tchaikovsky (pronounced chai+cough + ski).

The work began its life, however, as a popular novella penned in 1816

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the St. Petersburg Imperial Theatres with master choreographer Marius Petipa. They chose an adaptation of the Hoffman story by Alexandre Dumas, but simplified it greatly to produce a version of the opera that would work for their stage.

Since its premier in St. Peters-burg in 1892, the ballet’s choreogra-phy has gone through numerous changes and interpretations. Tchai-kovsky’s brilliant music shines throughout the whole of the suite and continues to be the defining feature of the performance.

A GROWING POPULARITY

The ballet was eventually exported from Russia, first to England in 1934 and later to America where its first complete performance was staged in San Francisco in 1944.

It quickly spread across the nation, becoming a Christmas tradition on stages from small community theatres to the greatest of concert halls.

One of the most watched interpretations of the work in this country would have to be the version that the famed George Balanchine choreographed for the New York City Ballet in 1954. It has

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transported back to her home. Later, Drosselmeier visits her and intro-duces his nephew, who she happily recognizes as the prince from her dream.

In 1890, Tchaikovsky, was con-tracted to collaborate on a ballet for

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been performed to packed houses at Christmas every year since and has also been released on video.

The other well-known version, that arguably re-popularized the ballet, is the 1977 performance choreographed by and starring the famed Mikhail Baryshnikov. ‘Misha’ brought both a stark Russian

sensibility and powerful, masculine performance to his interpretation which has been televised on public television for decades.

Even before these stage perfor-mances, Tchaikovsky’s Nutcracker melodies had already found their way across the country. Though many recordings of the composer’s

pieces were made and popularly re-ceived, the inclusion of a miniature Nutcracker Suite in Disney’s animat-ed film Fantasia was what really brought the music to a diverse American audience.

The melodies in pieces such as the Dance of the Sugar Plum Fairy, Chinese Dance, Russian Dance and

The Nutcracker is one of the most popular ballets perfromed worldwide. This is particularly true during the holidays.

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Waltz of the Flowers are instantly recognizable in no small thanks to this film, one of the most watched and highest grossing in history.

“The Nutcracker is perhaps the best known ballet anywhere,” said Pamela Hayes, founder of Pamela Hayes Classical Ballet and director of one the most acclaimed productions in the region. “It brings people out to see ballet who might not come otherwise.”

Audiences enjoy the grand scale of the ballet with it’s holiday theme.

WHY IS THE NUTCRACKER

STILL SO POPULAR?

We’ve seen how the ballet’s popularity grew, but why this piece? What is it about The Nutcracker that continues to appeal to generation after generation of audiences?

One half of the explanation is quite simple: the music is sublime with dancing to match.

Tchaikovsky’s pieces are some-times thunderous, sometimes faint as a first frost embroidered on a field of flowers.

The Nutcracker Ballet was first performed in the United States in 1958 and has become a classic. There are two productions being presented locally:

The Pamela Hayes Classical Ballet and the MoscowClassical Ballet.

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The composer, who we must remember introduced the cannon as an instrument in his 1812 Overture, created a work with immaculate orchestration and perfect phrasing. He managed to encapsulate the delicate power of ballet so perfectly that it seems impossible not to imagine people dancing to these pieces.

From the magnificence of his music comes the inspiration for matching choreography. Dance ensembles continue to feature their

best and brightest in The Nutcracker’s solo pieces where they are able to shine in front of large Christmas audiences.

“We bring in world class dancers and costuming for our production,” said Hayes. “It is a wonderful show-case for talented performers.”

The other half lies in the unique story. The easy explanation is that the setting is Christmas, which makes it an appropriate holiday performance, which naturally gained it lots of attention.

The Nutcracker tells the story of a young girl who dreams of a Nutcracker Prince and a battle against a Mouse King.

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However, the rest of the story is fantastical, somewhat bizarre, and even a bit dark. Yet, dark Christmas stories aren’t all that uncommon – look at the loveable Nightmare Before Christmas film, A Christmas Carol, or even the Grinch.

Like these other works, the Nutcracker story is essentially positive. It’s something of a coming-of-age story, in which a girl experiences a strange dreamscape and the adult emotions of loyalty, bravery, and love.

The darkness of the tale emphasizes the light at the end, where Clara returns to her loving home with the memory of the experience and added maturity, and this is what makes it a true family Christmas story.

UPCOMING SHOWS

For nuts, a hammer will do in a pinch, but for Christmas ballet, The Nutcracker is simply irreplaceable! There is something for everyone here: mock battles and evil mice, the sheer grace and beauty of the ballerinas, and of course the genius of the music.

This Christmas season, Three Stages is presenting two different ballet companies who will dance the story of The Nutcracker to life.

Just before Christmas, the Pamela Hayes Classical Ballet will give three performances of their highly entertaining and brilliantly costumed, The Nutcracker.

Their production features acclaimed guest artists in many of the key roles. When combined with the skillled resident dancers, a world-class production is achieved.

Just after Christmas, the much acclaimed Moscow Classical Ballet will offer five grand performances of a traditional interpretation of the same piece.

It may be difficult to decide

which version to see, but then, why choose? Treat yourself and your loved ones to both and re-live your fondest memories of this Christmas tradition while creating new ones for your own children to cherish.

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Pamela Hayes Classical Ballet presents The NutcrackerFriday, Dec 21, 2012 – 7:30 pmSaturday Dec 22, 2012 – 7:30 pmSunday Dec 23, 2012 – 2:00 pmTickets are available at www.threestages.net.

Robert Friedman presents The Moscow Classical BalletThe NutcrackerThursday Dec 27, 2012 – 7:00 pmFriday Dec 28, 2012 – 7:30 pmSaturday Dec 29, 2012 – 2:00 pmSaturday Dec 29, 2012 – 7:30 pmSunday Dec 30, 2012 – 2:00 pmTickets are available at www.threestages.net.

Photo Credits: Special thanks to The Pamela Hayes Classical Ballet (photos by Zepher Photoworks), The Moscow Ballet, and to Westchester Ballet Company for the cover photo.

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SEUSSICAL THE MUSICAL IS AFANTASTICAL, MAGICAL, MUSICAL extravaganza in which our favorite Dr. Seuss characters, including Horton the Elephant, The Cat in the Hat, Gertrude McFuzz, Mayzie LaBird, and a little boy with a big imagination, Jojo, are brought to life.

The colorful characters transport us from the Jungle of Nool to the Circus McGurkus to the invisible world of the Whos.

Seussical opened on Broadway on November 30, 2000. The original Broadway cast included David Shiner as the Cat in the Hat with many celebrity Cat in the Hat replace-ments, including Rosie O’Donnell and Cathy Rigby.

A production of the show is slated to open in London’s West End this December.

The main plot of the show mirrors the book Horton Hears a Who!, centering on Horton the Elephant’s endeavors to protect the people of Whoville, who live on a tiny speck of dust.

We caught up with the director and choreographer of El Dorado Musical Theatre’s production of Seussical the Musical, Debbie Wilson:

STAGEPASS: How do you go about taking these story books and bringing them to life?

WILSON: First of all it helps to know some of the books that are included. There are about eighteen Seuss books which have been blended into one cohesive story.

The script is very nicely written. There are a lot of direct sections of dialog and song lyrics that are word-for-word from the books. The show is almost entirely sung with very little

dialog. But even when there is dialog, it’s in Seuss rhythmic patterns.

The music is upbeat and happy, plus the story itself is pretty endearing.

It’s about doing what is right even if it’s not the easiest thing to do. It’s about standing up for what you know is true and nurturing and caring for others. It is about not just following the mainstream but having your own mind and having your own point of view. It is about believing in yourself and believing in what you know to be just.

So there are some very nice messages in the show.

We have chosen to model our version on the Broadway production. The show was rewritten after it left Broadway and reworked before it went on tour.

We have looked back to the Broadway version because I didn’t want the costumes to be so huge and the sets to be so huge and “the everything” to be so huge that it was

one-upping itself. I wanted the sets and pageantry

to speak a little more softly. There are still enormous sets, amazing lights and a ton of stuff. But, we have based the show mostly on how it was done originally on Broadway.

STAGEPASS: How does the Cat in the Hat get involved?

WILSON: Ah yes, the Cat. The Cat is your narrator and sort of a Master of Ceremonies.

The cool thing about the Cat’s role is that if an actor can do a variety of accents and characters and that kind of thing, the script allows for it.

One of the things that I can’t stand is when a Cat in the Hat gets over indulgent, cheesy, or tries to pull the audience in an uncomfortable direction. It makes me crazy. I hate it as an audience member so I don’t want to do it to our audience.

Our Cat is wildly talented and is able to go from character to charac-ter to character. Sometimes he’s

Opposite: Built to support the performing arts, the Three Stages facility easily accommodated a large number of students.

Below: Director/Choreographer Debbie Wilson talks with Zack Collins, who plays Horton the Elephant.

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speaking in German. Other times he has some other kind of accent. It’s really fun.

Every time the Cat appears you don’t quite know which Cat you are going to get. Is he the Circus Barker or the German Doctor or what is he going to be?

We also have our Cat actually playing the piano which does not happen very often. Plus he’s tumbling and is doing a variety of things that a lot of Cats can’t do.

The costumes are bright and beautiful. We wanted a visual feast for the eyes.

Don’t expect elephant ears on Horton or wings on Gertrude. The costumes suggest the animals each character might be. We are not forcing that in the costuming. The

costumes hint at their animal type without slamming it in your face.

We’ve got Mayzie wearing the biggest costume piece we have ever had which is her tail. Mayzie is the Vegas showgirl. Our other main bird, Gertrude, is more of the folk song kind of girl.

STAGEPASS: Let’s talk about the music. I understand it is running almost continually through the show.

WILSON: The score is 452 pages long. As I said, almost the entire show is sung. There is a lot of harmony. The Bird Girls sing in three part harmon-ies. The Wickershams sing in three part harmonies.

It’s a huge, huge score. Just to get it all taught has been an enormous task. It also means that it all had to be

choreographed. We have two casts of 65 so there’s a lot of stuff to put up in the amount of time we had.

STAGEPASS: Is there anything different about the way you are working with the actors to help them become Seuss characters?

WILSON: Yes and no. The thing that is the same is the “heart” the actors bring to the characters. Quite frankly there may be even more heart in some of these Seuss characters because they are a little more fragile or a little more vulnerable.

We approached it very similarly to any other character on stage because that’s really the bottom line. What is the message? What is the story getting across? We’re not doing them as cutesy cartoon characters.

Whos, Gertrude, Horton, and the Sour Kangaroo are all brought to life in Seussical The Musical.

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For example, Horton is pretty straight ahead. He’s an everyday guy who is actually there to save the world. That’s who and what he is.

Gertrude will stand by him through anything and just wants to be noticed. She goes about it in all the wrong ways, thinking that if she has a big glorious tail, that’s what will make her get noticed. And she discovers that it’s not only untrue, but it limits what she can do.

STAGEPASS: Seuss was really writing much more than kid’s books. There are a lot of messages in his stories.

WILSON: He was presenting mes-sages for all of us. Seuss was a philosopher. He spread the word of doing good, doing well, and being true to yourself. In all of his books you find characters that are working to make the world better.

STAGEPASS: What was it that attracted you to Seussical the Musical as a show for EDMT to present?

WILSON: Seussical certainly lends itself to being done by young people.

It also speaks to being watched by any age, including other young people. The message is relatable to anyone — “A person’s a person no matter how small.”

That just speaks to EDMT. We don’t really care that they are young people or they have small bodies right now. They’re people.

You see, we’re not doing kid’s theater. We’re just doing great theater. It happens to be with young performers.

Over the past eleven years, many of our people have gone on to major universities in Musical Theater. They

have started performing elsewhere and are just doing well in life.

We’re just doing great theater.

STAGEPASS: What should people expect when they come see the show? What will they experience?

WILSON: They should expect some

magic. They should expect lots of color, wonderful music, amazing lights, and a lot of heart.

You can see El Dorado Musical Theatre’s

production of Seussical the Musical at Three

Stages in Folsom, November 2–18. For tickets

go to: www.threestages.net

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IT’S COLD AND DARK AT 5:00 A.M. It’s certainly not when most performers prefer to be up and about. This is particularly true on a Saturday morning when they have a big performance scheduled for later that same night.

Add to this scenario that these performers were all teenagers and were volunteering their time and talent, and the event becomes more significant.

That’s exactly what happened when 42 young performers pulled together to become the “dance mob” for the recent Run for Courage race in

Folsom on the edge of El Dorado Hills.

Performing in an open field shortly after sunrise may not be glamorous, but these performers approached the task with sincere enthusiasm. With over 2,000 runners in attendance, it was one of the largest audiences in the area.

Most important of all, it was a performance with a purpose. Run for Courage is a not-for-profit organ-ization dedicated to ending human trafficking. With Sacramento being one of the focal points for human trafficking on the West Coast, it is a

very real concern in the community.This came into sharp focus when

a 17-year old girl was abducted from El Dorado Hills, moved to the Bay Area and sold for sex until she was rescued almost a week later.

In 2010, Run for Courage was created to raise money and aware-ness to combat this heinous crime. Their annual race has grown to be much more than an event for runners, it has become a focal point for the community.

This last year, over $140,000 was raised to support the cause.

The idea of performing at the

Long shadows prove the early hour runners and performers gathered to kick off the fundraising event.

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race had begun the year before. A “flash mob” of dancers who spontaneously sprang from the crowd and began performing was created.

“It was a huge hit,” said Ashlie Bryant, Executive Director of Run For Courage. “It helped set a tone for the entire event. For the past year people have been asking, will the dancers be back?”

The word went out and quickly a group of volunteer performers stepped up. Many were experienced performers with years of experience. They ranged in age from 10- to 20- years-old.

Rehearsals were started weeks before the event. The performers would meet on Saturdays and work on the choreography. The music “Brand New Day” from the musical The Wiz was selected for its bright, up-tempo music and its positive message.

PERFORMING AT A RACE

IS NOT YOUR USUAL VENUE

Unlike a usual theater with stages, lights, and dressing rooms, the performers reported at 6:30 a.m. in the shopping center parking lot alongside the race location. (Many chose to arrive much earlier to help set up the race.)

After a few run throughs of the number, the group walked over to the race staging area to blend in with the growing crowd.

After some pre-race announce-ments and the singing of the National Anthem, the first notes of “Brand New Day” came pouring from the loudspeakers. The dancers ran out to their positions alongside the multitude of runners and began their performance.

The audience of runners stopped to watch. Many started clapping along with the music. Everyone was smiling.

As the last notes of the music played and the dancers hit their final poses, a roar of applause and cheers came up from the crowd.

“This is amazing,” said one race participant to their running partner. “This is so much more than a race, it’s a total, fun experience.”

But the day was not yet over for the dancers. As the race started, they joined other volunteers to help provide water and refreshments for the runners as they returned. It’s not every day that the performers stay to thank the audience.

Slowly the crowd thinned as the race concluded. The booths and tables that were the foundation of the event were put away. Soon the colorful event venue was once again an empty, grassy lot.

Sometimes people forget that the performing arts are an important part of what brings quality to a community. And that at the best of times, the arts don’t just occur only in a theater.

These moments become even more meaningful when young people actively contribute and work to “give back” to their community.

You can learn more about Run For

Courage at http://runforcourage.org/

Right: Allie Frew and Isabella Fay staff

one of many water stations for the race.

Below: Samantha Teter and David

Bryant staff another important

hydration table at the event.

Page 26: StagePass Nov/Dec2012

23

1100 Marshall Way | Placerville, CA | 95667

Oh baby, look at us now!Marshall Medical Center is excited

to announce the grand opening

of our new patient care wing this

fall. Combining spacious comfort

with the latest in technology, our

new South Wing boasts a Level

III Trauma Center/Emergency

Department on the first floor

and a large Birth Center with all

private suites on the second floor.

At Marshall, we’re proud to offer

patients a higher level of care,

service and experience.

To find a physician affiliated with

Marshall Medical Center, call 916-933-3210

or visit marshallmedical.org.

Page 27: StagePass Nov/Dec2012

GUIDEUPCOMINGSHOWS

Great entertainment coming to Three Stages

24

El Dorado Musical Theatre presents

SEUSSICAL THE MUSICALYouth Theater at its Best!

NOV 2 - 18, 2012; 7 PM MOST NIGHTS

PLUS MATINEES; $18-$28; PREMIUM $36

THURSDAY BARGAIN NIGHTS $14.75

Now one of the most performed shows in America, Seussical The Musical is a fantastical, magical, musical extravaganza! The story centers around Horton the Elephant, who finds himself faced with a double challenge —not only must he protect his tiny friend Jojo (and all the invisible Whos) from a world of naysayers and dangers, but he must guard an abandoned egg, left to his care by the irresponsible Mayzie La Bird. Although Horton faces ridicule, danger, kidnapping and a trial, the intrepid Gertrude McFuzz never loses faith in him, the only one who recognizes “his kind and his powerful heart.” Ultimately, the powers of friendship, loyalty, family and community are chal-lenged and emerge triumphant, in a story that makes you laugh and cry.

Sacramento Guitar Society presents

THIBAULT CAUVIN

SAT, NOV 3, 2012; 8 PM

SUN, NOV 4, 2012; 2 PM

$15-37, PREMIUM $40

Thibault Cauvin is one of the most talented, charismatic and sought-after guitarists in the world today.

The 27-year-old Parisian is traveling the globe throughout the year at the invitation of the most prestigious festivals and concert halls. Between New York and Hong Kong, San Paolo and Istanbul, London and Melbourne or Singapore and Tel-Aviv, he shares his music with us. The young prodigy has already given more than 1000 concerts

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Saturday, March 9, 2013Doors 7 p • Show 8 p • Tickets $30, $39, $49 at www.threestages.netEvent @ Three Stages at Folsom Lake College, 10 College Parkway, Folsom, CA www.carrera-productions.com

presented by

worldwide, unanimously recognized by the critics. He has also participated in many TV and radio programs and collaborated with famous musicians, composers and symphony orches-tras. Thibault is regularly invited by the most prestigious conservatories, universities and festivals throughout the world to give master-classes, lectures or to judge competitions.

CHUCHO VALDÉS QUINTET

SPONSORED BY CAPITAL PUBLIC RADIO

TUE, NOV 13, 2012; 7:30 PM

$19-$29, PREMIUM $39;

STUDENTS WITH ID $12

Hailed as “the dean of Latin jazz” and “one of the world’s great virtuosic pianists” (New York Times), five-time

Grammy Award winner Chucho Valdés has recorded over 80 CDs during his illustrious career, performing with countless jazz masters including Herbie Hancock, Dizzy Gillespie, Wynton Marsalis, and Chick Corea. Founder of the rhythmically innovative Latin jazz band Irakere, Valdés has appeared on the distinguished stages of Carnegie Hall, The Kennedy Center, and The Hollywood Bowl.

KEYBOARD CONVERSATIONS With Jeffrey SiegelTHE ROMANTIC MUSIC OF CHOPIN

WED, NOVEMBER 14, 2012; 7:30 PM

$19-$29, PREMIUM $39; STUDENTS WITH ID $7

“He may just be a musical Carl Sagan” (Los Angeles Times). Jeffrey Siegel returns for four performances at Three Stages. “Superb music making, an exquisite performance.

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This was an achievement of a sort seldom heard” (New York Times). Mixing virtuosic performance with lively commentary on the great composers, “Jeffrey Siegel has everything: massive technique, musical sensitivity and character, wide tonal resources, immense reserves of power, and the ability to communicate” (Los Angeles Times). Sponsored by Capital Public Radio.

THE ROYAL DRUMMERS & DANCERS OF BURUNDI

MON, NOV 19, 2012; 7 PM

$19-$29, PREMIUM $39

STUDENTS WITH ID $12

Considered one of the world’s greatest percussion ensembles, they have performed in the same way for centuries, passing down traditions and techniques from father to son. Traditionally a part of ceremonies such as births or funerals, these drums of Burundi are sacred and represent the powers of fertility and regeneration. Come for an evening of mesmerizing rhythm and joyous expression: “A constant parade of players improvised on the central drum, dancing to the rhythms, leaping or twirling drumsticks in the air or around their necks. It was all a celebration of ability, the sheer pleasure of competitive creativity…more virtuosic than sentimental” (New York Times).

AN IRISH CHRISTMAS

THU, NOV 29, 2012; 7 PM

FRI, NOV 30, 2012; 4 PM & 7:30 PM

SAT, DEC 1, 2012; 2 PM & 7:30 PM

$25-$39, PREMIUM $49,

CHILDREN $20

“A great Irish night” (The Irish Herald). After not one, but two sold-out shows at Three Stages last December, their return to Folsom was all but guaranteed. A celebration of Christmas in Ireland, with glorious music, traditional dance, lively storytelling, and plenty of Irish soul, An Irish Christmas will feature Riverdance star Kevin Horton and Magic of the Dance stars Ciaran Maguire (who

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debuted in Riverdance at the age of 16) and Collette Dunne, plus the Kerry Trad Orchestra and a host of actors and singers in a sparkling Irish night! “…Music, dance, and song that leaves everyone breathless” (The Village News).

E:motion Dance Ensemble presents

CASH:THE LIFE AND MUSIC OF AN AMERICAN LEGENDFRI, NOV 30, 2012; 8 PM, SAT, DEC 1, 2012; 8 PM

THURS, DEC 6, 2012; 8 PM, FRI, DEC 7, 2012; 8 PM

SAT, DEC 8, 2012; 2 PM & 8 PM

$22; STUDENTS AND SENIORS $20

The world premiere of a full-length dance concert based upon the extraordinary Johnny Cash. Under the direction of Sunny Staton Mitchell (Sacramento Ballet, Sacramento Music Circus), with Eric Larson, who has performed in the national tours of Fiddler on the Roof as Mischa/Swing and Oklahoma! as Joe/Dance Captain, starring as Johnny Cash.

American River Chorus Presents

A HOLIDAY CELEBRATION II

SUN, DEC 2, 2012; 2 PM & 8 PM

$20, PREMIUM $35,

CHILDREN AND STUDENTS WITH ID $10

Holiday magic, a cappella style! The American River Chorus – a 60- member male vocal ensemble working primarily in the barbershop style – is joined by Chanteuses, an 18-member all-women troupe, for an impressive evening of choral work.

Cantare Chorale presents

THE NIGHT BEFORE CHRISTMAS

SUN, DEC 2, 2012; 3 PM • $15 GENERAL

IN STAGE 3

Showcasing vocal harmony to El Dorado County and beyond for 20 years, Cantare Chorale presents its holiday performance of quality choral music for all ages. Under the direction of Dr. Jeffrey Nelson.

BROADWAY TODAY!

FRI, DEC 7, 2012; 8 PM

$29-$39, PREMIUM $49 The best plays on Broadway come together on one stage for one evening. Take four Broadway stars—some of the leading talent in New York today; veterans of Wicked, Cats, Falsettos, Singin’ In The Rain and the like. Put them onstage together where they mix it up with each other, and with a live trio. Hand them a song list that includes music from West Side Story, Hair, The Lion King, Ragtime, Chicago, Billy Elliot, Wicked, Mamma Mia! and then some. Featur-ing Jason Graae, Jessica Hendy, David Burnham and Christina Saffran.

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Placer Pops Chorale presents

A HOLIDAY HOMECOMINGSAT, DEC 8, 2012; 7 PM • SUN, DEC 9, 2012; 2 PM

$22-$33, PREMIUM $35,

STUDENTS & SENIORS $20-$30

Capture the spirit of the season with new and innovative arrange-ments of timeless and heart-warming Christmas classics.  Make this your best holidays ever with this dazzling concert, featuring the most beloved holiday favorites, perfor-med in the vibrant style of this acclaimed Chorale.

Compañía Mazatlán Bellas Artes

POSADA NAVIDEÑA

FRI, DEC 14, 2012; 7:30 PM

$20-$29, PREMIUM $35, CHILDREN $20

Featuring 20 dancers and musicians, this holiday celebration provides a whirlwind tour of Mexico’s distinct cultural regions and includes a tradi-tional Christmas processional (posada), Mexican holiday songs (villancicos), a visit from the Three Wise Men, a festive piñata scene, and a vibrant holiday finale performed in the spirit of a true fiesta. A new piece, “Yucatan,” will premiere this year.

The Folsom Symphony presents

OF JOY & FATESAT, DEC 15, 2012; 7:30 PM • SUN, DEC 16, 2012; 2 PM

$25-$42, PREMIUM $55, STUDENTS WITH ID

& SENIORS (65+) $20-$37

Our annual holiday concert will leave you in the mood to celebrate. The pieces range from joyous to contemplative with the Folsom High School chamber choir and Handel’s inspiring Hallelujah Chorus. The performance concludes with a lively sing-along. This concert has been so popular, we present it for two nights.

A CELTIC CHRISTMAS

with Sacramento Master SingersSUN, DEC 16, 2012; 7:30 PM

$25-$40; PREMIUM $55

Journey with us to Ireland, Scotland, and the British Isles as we celebrate the holidays with a decidedly Celtic flair! Joining us on our holiday program is the heart-warming Celtic

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duo Men of Worth. We’ll also sing many traditional carols and holiday songs in exciting, fresh arrangements such as “I Saw Three Ships,” “The Holly and the Ivy,” and “The Little Drummer Boy.” Kick off your holiday season with the Sacramento Master Singers!

EDMT’s High Voltage presents

HOLIDAY CELEBRATION

MON, DEC 17, 2012; 7 PM

$17-$25; PREMIUM $32

With high-energy holiday entertain-ment, exceptional singing, and dancing too, this presentation of holiday favorites is flat-out fun!

High Voltage, the premiere performing group from El Dorado Musical Theatre, consists of 20 young performers. They perform a review of wintertime favorites that showcases the talent of the entire cast. Combining the traditional with new classics, it’s a great way to experience holiday magic.

Pamela Hayes Classical Ballet Theatre presents

THE NUTCRACKERFRI, DEC 21, 2012; 7:30 PM

SAT, DEC 22, 2012; 7:30 PM

SUN, DEC 23, 2012; 2 PM

$20-$23, PREMIUM $26, CHILDREN $15-21

It’s Christmas Eve. A majestic tree sparkles and the Silberhaus’ are hosting their annual Christmas party, welcoming the arrival of their guests. Suddenly, Clara’s beloved Herr Drosselmeyer appears and entertains the guests with magical tricks and life-size dolls. Come and be swept away with Clara and her Prince on their journey through the Kingdom of Sweets where you will meet adorable Sweeties, hilarious Mother Ginger, beautiful Sugar Plum Fairy and her Cavalier, and all the characters you have grown to love in this time-less tale. Pamela Hayes’ Nutcracker has been recognized for its unique entertainment approach and won-derful costuming.

Robert Friedman presents

THE MOSCOW CLASSICAL BALLET

THE NUTCRACKERTHU, DEC 27, 2012 7 PM

FRI, DEC 28, 2012, 7:30 PM

SAT, DEC 29, 2012, 2 PM & 7:30 PM

SUN, DEC 30, 2012, 2 PM

$29-$49; PREMIUM $59-$65

15% DISCOUNT FOR GROUPS OF 15+

Tchaikovsky’s timeless tale of family and the magic of Christmas brings people together to enjoy the merriment of the holidays, especially in this staging by the esteemed Moscow Classical Ballet. This brilliant troupe is one of three ballet com-panies supported by the Russian government and “boasts a cluster of phenomenal young dancers...its corps performs in an uncluttered, streamlined style” (New York Times).

For 45 years, Moscow Classical Ballet has performed in over 30 countries around the world. Winner of over 15 Gold Medals, and three prizes from the Paris Academy of

New American GrillF O R R E S E R V A T I O N S C A L L

916-941-9694W W W . S I E N N A R E S T A U R A N T S . C O M

O P E N D A I L Y L U N C H, D I N N E R

A N D S U N D A Y B R U N C H

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dance, they have toured The Nutcracker in the U.S. every year for the past 20 years to sold-out houses.

“To call this Nutcracker old fashioned is to compliment it. It presents the ballet as a beautiful and traditional Christmas present, filled with charming dancers, spare but bright costumes, and wonderful music” (Orange County Calendar).

Performed to recorded music.

DRUMLINE LIVE

THURS, JAN 10, 2013, 7:30 PM

$39-$59, PREMIUM $69

“DRUMLINE LIVE…could very well out-stomp Stomp and out-blast Blast” (News-Sun). Created by Don Roberts, executive consultant for

the 20th Century Fox hit movie Drumline, DRUMLINE LIVE is a marching band extravaganza that parades out of the football stadium and onto the stage with explosive percussion, resounding brass, and dazzling choreography. The drumline tradition began over fifty years ago; as an art form, it has since grown into a genre all its own, featuring characteristic high stepping, funky dance rhythms, and exciting musical repertoire ranging from classical to Top 40.

Mark Hummel’s Blues Harmonica Blowout

A TRIBUTE TO JIMMY REED

FRI, JAN 11, 2013; 8 PM

$19-$29, PREMIUM $39, STUDENTS WITH ID $12

Mark Hummel and his band are joined by an all-star harmonica lineup: Lazy Lester (worked with Slim Harpo and Lightnin’ Slim), Rick Estrin (Little Charlie & The Nightcats),

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Grammy nominee Kenny Neal, Kim Wilson (The Fabulous Thunderbirds), and guitarists Charlie Baty (in a rare reunion with his Little Charlie colleague Estrin) and Joe Louis Walker (worked with John Lee Hooker, Muddy Water, Jimi Hendrix, and more), all paying tribute to Jimmy Reed. Last year’s Blues Blowout was a sold-out affair, and with good reason.  

Young Dempsey Productions presents

THE WALKING PHOENIXES

SAT, JAN 12, 2013; 7 PM

$30-$35, PREMIUM $50

In celebration of the 45th anniversary of Johnny Cash’s performance at Folsom State Prison, The Walking Phoenixes—a Johnny Cash Tribute band—will perform favorite songs from the Johnny Cash songbook

(“Walk the Line” “Folsom Prison Blues,” “Big River” and more) with “strong conviction and stunning accuracy.”

KEYBOARD CONVERSATIONS® With Jeffrey SiegelSponsored by Capital Public Radio

SCHUBERT IN THE AGE OF THE SOUND BYTE

SUN, JAN 13, 2013; 1 PM

$19-$29; PREMIUM $39, STUDENTS WITH ID $7

In this computerized age, the glor-ious melodies and incandescent har-monies of this beloved composer affect us more deeply than ever.

LOS LOBOSACOUSTIC EN VIVO

SUN, JAN 13, 2013; 7 PM

$29-$39; PREMIUM $49

For over three decades, “with the exception of U2, no other band has stayed on top of its game as long as Los Lobos” (Rolling Stone). The three-time Grammy-winning band sets down their electric instruments and picks up their guitarones, jaranas, and bajo sextos for a lively acoustic performance of their Latin catalogue, in both traditional and contempo-rary styles. Come for an evening with “a good-natured jam band with roots in the blues, early rock ’n’ roll, Mexican norteño music, and California folk-rock” (New York Times).

NUNSET BOULEVARD Starring Cindy Williams

MON, JAN 14, 2013; 7 PM

TUE, JAN 15, 2013; 7 PM

WED, JAN 16, 2013; 2 PM & 7 PM

$29-$49; PREMIUM $59, 10% DISCOUNT

FOR WED AFTERNOON SINGLE TICKETS

“The ‘nuns’ have done it again…

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35

sinfully funny laughs” (NBC News). This latest installment in the well-loved series of Nunsense musicals features the popular star of Laverne & Shirley, Cindy Williams. The Sisters are on their way to perform at the Hollywood Bowl, or so they believe. Alas, it’s actually the Hollywood Bowl-A-Rama. But wait! They learn of auditions for a new musical about Dolores Hart, the famous movie star who kissed Elvis and then became a nun! Will this be their big break? “Hilarious, wacky, and unpre-dictable!” (ABC News).

DAILEY AND VINCENT

THURS, JAN 17, 2013; 7:30 PM

$19-$29; PREMIUM $39, STUDENTS WITH ID $12

“The most celebrated new bluegrass act of the last few years” (New York Times). Who better to introduce Three Stages to this venerable tradition than bluegrass superstars Dailey & Vincent? They have won the Inter-national Bluegrass Music Associa-tion’s Entertainer of the Year award three times, and won both Vocal Group and Album of the Year awards in 2010. Grammy-nominated and chart-topping (on both the Billboard Bluegrass and Country charts), the six-piece band suggests “a new dynasty may be taking shape in bluegrass music” (Wall Street Journal).

EL DORADO MUSICAL THEATRE WELCOMES

AS THE ORGANIZATION’S LEGAL COUNSEL

WE APPRECIATE MR. SANDERS’ WILLINGNESSTO ASSIST US IN MEETING OUR LEGAL NEEDS

ABOUT ROBERT SANDERS Mr. Sanders is a local attorney whofocuses his law practice on:

ESTATE PLANNINGLiving Trusts, Wills, Probate

BUSINESS LAWCorporation.LLC Formation

& Governance Contracts, etc.

Robert Sanders resides in El Dorado Hills with his wife and fourchildren. He is a strong supporter of the community and is active inhis Church and the El Dorado Hills Chamber of Commerce.

COMMERCIAL REAL ESTATE TRANSACTIONSPurchases, Leases, Financing

PLEASE CONTACT MR. SANDERS WHEN YOU HAVELEGAL NEEDS IN HIS AREAS OF EXPERTISE.

5170 Golden Foothill Parkway, El Dorado Hills, CA 95762

916.235.6840 • www. rsanderslaw.com

Page 36: StagePass Nov/Dec2012

RAIN: A TRIBUTE TO THE BEATLES

FRI, JAN 18, 2013; 7:30 PM • SAT, JAN 19, 2013;

2 PM & 7:30 PM • SUN, JAN 20, 2013; 2 PM & 7

PM • $39-$59; PREMIUM $69, 10% DISCOUNT

ON SUNDAY EVENING SINGLE TICKETS

“An adoring valentine to The Beatles … an impressive feat for some of the later songs, which The Beatles themselves performed only in the studio” (Washington Post). You know all the songs, you know all the words—but odds are you never saw The Beatles on stage. And RAIN—performed 300 times on Broadway

by four musicians who mastered the legendary foursome in song and nuance—captures The Beatles in a “pitch perfect” performance (Associated Press) beneath fantastic lighting and vintage video. “A spectacular extravaganza…did the audience love it? Yeah, yeah, yeah!” (Philadelphia Inquirer).

AN EVENING WITH CARY FARLEY3rd Annual Mustard Seed Benefit Concert

SAT, JAN 19, 2013; 7 PM • $10-$15

Local musician and schoolteacher Cary Farley performs a melodic mixture of alternative and con-temporary rock with a five-piece band—piano, guitar, cello, mandolin, bass, and drums, in a benefit for the Mustard Seed School. “He even makes our piano sound good!” (Mark S. Allen, Good Day Sacramento).

Rasta Thomas’ BAD BOYS OF DANCE

THURS, JAN 24, 2013; 7:30 PM

$25-$45, PREMIUM $55,

STUDENTS WITH ID $12

Sexy, athletic, entertaining, fun—and “absolutely dazzling dancing!” (Boston Globe). Meet the Bad Boys of

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Dance, founded by dance superstar Rasta Thomas (Dance Theater of Harlem, Kirov Ballet). They are a fresh, new dance company that has performed in Carnegie Hall with Sir Elton John and have toured 150 cities performing for 500,000 fans. Talented, young, versatile, and male—mostly—the Bad Boys will bring to Three Stages a night of extraordinary athleticism and endearing individuality.

INTERNATIONAL GUITAR NIGHT

FRI, JAN 25, 2013; 8 PM

$19-$29, PREMIUM $39,

STUDENTS WITH ID $12

Returning on the heels of last year’s sold-out performance, International Guitar Night gathers the world’s finest guitarists/composers on one stage. The world’s foremost exponent of solo jazz guitar, Martin Taylor is

described as “The acoustic guitarist of his generation” (Acoustic Guitar Magazine) and “something to behold” (Washington Post). “Martin Taylor is one of the most awesome solo guitar players in the history of the instrument. He’s unbelievable” (Pat Metheny).

Joining him are Solorazaf from Madagascar, who mixes voice with foot percussion to form a one-man band—“simply superb & magnificent” (Afropop Worldwide), Guinga, one of Brazil’s foremost guitarists, and IGN founder Brian Gore.

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AN ACOUSTIC EVENING WITH CLINT BLACK

SAT, JAN 26, 2013; 8 PM

WED, JAN 30, 2013; 7:30 PM

$39-$55, PREMIUM $65

“A future Country Music Hall of Famer” (Los Angeles Times). His auspicious country music career started with a bang, really unlike any other. The debut recording, “Killin’ Time,” boasted five Number One hits—unprecedented from a debut in any genre—and he has since gone on to sell over 20 million albums worldwide. Performing here in an intimate trio setting, the prolific singer-songwriter is known not only for his vocal prowess, but also for his roles in films like Maverick; he is a devout father, husband, philanthropist, and multi-award winning artist.

FLCCA presents MASTERS OF MOTOWN

SUN, JAN 27, 2013; 2 PM • $29

An ensemble of six singers, accompanied by drums, keys, and bass musicians, cater to every whim of an oldies lover. During the ultimate stroll down memory lane, Masters of Motown perform hits like: “Get Ready” by The Temptations, “Dancing in the Street” by Martha and the Vandellas and “Ain’t No Mountain High Enough” by Marvin Gaye and Tammi Terrell. They’re sure to have you clapping your hands and snapping your fingers.

THE ACTORS’ GANG

MOLIÈRE’S TARTUFFE

TUE, JAN 29, 2013; 7:30 PM

$25-$39, PREMIUM $45,

STUDENTS WITH ID $12

Under the artistic direction of Tim Robbins (Bull Durham, The Shawshank Redemption), The Actors’ Gang enters its fourth decade as one of Los Angeles’ most enduring theatre ensembles. With dozens of plays and hundreds of awards under their belt, “The Gang is an enormously talented and versatile ensemble with a genius for refreshingly engaged political humor” (San Francisco Examiner). In their Three Stages debut, they turn their attention to Molière’s ageless tale of envy and deception. “The traditional Comédie-Francaise raps hit the floor, and Molière’s timeless assault on hypocrisy sears anew” (Los Angeles Times).

AN EVENING WITH BRANFORD MARSALIS

THURS, JAN 31, 2013; 7:30 PM

$29-$39, PREMIUM $49

A three-time Grammy winner from one of the world’s most distinguished musical families, Branford Marsalis is known for his innovative spirit and broad musical scope. Equally at home on the stages of the world’s greatest clubs and concert halls, Mr.

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Marsalis brings the Branford Marsalis Quartet to Three Stages. His upcoming August 2012 release, reviewed in the April 29, 2012 New York Times, was greeted thusly: “The album is a knockout: hard nosed and hyperacute, tradition minded but modern….”

And at the Jill Solberg Performing Arts Theater on the Folsom High School campus:

RHYTHMS OF CHRISTMASNORTH POLE SECRETSSOUND OUT TAP COMPANYA Holiday tap dance extravaganza for the whole family.  FRIDAY. DEC. 7, 2012, 7:30 P.M., SATURDAY.

DEC. 8, 2:00 P.M., SUNDAY. DEC. 9, 2:00 P.M. 

TICKETS: ADULTS: $20   SENIORS: $18  

STUDENTS: $15   CHILDREN: $10. GROUP

DISCOUNTS AVAILABLE.

Sound Out Artistic Director and Choreographer, Alyson Meador, will once again bring the excitement of Christmas to life with her holiday extravaganza, Rhythms of Christmas…North Pole Secrets. Each season Sound Out presents an original holiday production pro-viding the audience with a new adventure to kick off that favorite time of the year. This year, join the award-winning tap dance company, as they take a secret journey through Santa’s village at the holiday season and find out who’s really in charge of the North Pole magic!

ANNOUNCINGOUR NEW SEASON

tickets available throughwww.threestages.netor call 916-608-6888

916-941-SING (7464)For season & group tickets:

www.edmt.infoFor more information about EDMT:

FALL 2012 WINTER 2013

SPRING 2013 SUMMER 2013

SAVE W

ITH

SEASON

TICKETS!

INCLUDES DECEMBER 17, AT 7PM

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Visit www.folsomsymphony.com or call 916-608-6888 for ticket information

Join us on Facebook for the latest updates

Our annual holiday concert will leave you in the mood to celebrate. The pieces range from joyous (Beethoven’s “Fidelio Overture,” Rimsky-Korsakov’s “Capriccio Espagnol”) to contemplative (Brahms’ “Schicksalslied” and Handel’s inspiring “Hallelujah Chorus”). The performance includes a lively sing-along and works by Handel, Strauss Jr., and Strauss Sr.

Guest Artist, the Folsom High School Chamber Singers

Three Stages at Folsom Lake College, 10 College Parkway, Folsom, CA 95630