Column and Stripe Tour of the Cleveland Museum of Art Conservation Lab (@clevelandart)

Mr. Knutas with Van Gogh's The Road Menders,
prepared for loan, in the Paintings Lab

This evening Rachel I had the pleasure of attending a tour and talk by Per Knutas, Chief Conservator of the Cleveland Museum of Art, as part of a program hosted by Column and Stripe, the Cleveland Museum of Art's affiliate group for young friends.

I've found conservation fascinating both for the ethical and technical challenges and questions posed -- and Rachel has conservation work experience (including, most impressively to me reconstructing the shell of an ostrich egg from over 100 individual pieces while living in Italy) so there was no doubt we would attend this evening's program. I was particularly interested because while Rachel has volunteered in the labs the only part of the tightly-secured conservation suite I've see is the classroom and I'm always up for a behind-closed-doors tour.

Illustrating the level of documentation
that may be associated with the
conservation of a single work.

Per, a relatively new addition to the Cleveland Museum of Art staff, started the evening in the Conservation classroom with an overview of both the profession in general and Conservation at the Cleveland Museum of art, including the ethical considerations such as that everything a conservator does must be documented and reversible. I found it interesting to hear that different considerations apply between "modern" works, where a greater level intervention and consultation with the artist is permitted, versus historical pieces where a very conservative approach is taken.

The Rembrandt amongst the conservator's tools
(Click for a larger version)

Delving further into the inner sanctum -- and uncharted territory for myself and most of the attendees -- lab doors were opened and the covers were literally lifted off of works in the process of being conserved by the museum's staff of science-driven artisans. Take, for example, a Rembrandt undergoing cleaning and conservation by paintings conservator Dean Yoder. A think layer of varnish was laid over the work to isolate the "original" paint from the conservation work, and further paints that fluoresce under ultraviolet light are used for the necessary in painting to make the work done immediately apparent to future scholars and conservators.

Demonstrating the UV Light,
highlighting in painting

The careful treatment of works does not stop there, but also careful consideration of cultural traditions. For example, Mr. Knutas related that in considering critical preservation work on a document with religious significance where the culture forbids disturbing living things. To respect that culture, no animal glues can be used -- no brushes with animal hair can be used. The suggestions that it would be proper not to wear leather belts or shoes while working on the piece and that the conservators involved not eat meat the day before are being considered. I knew conservation was a hyper-detail oriented craft, but I had never considered how cultural concerns could so dramatically affect the execution of conservation -- and the lengths the Cleveland Museum of Art is willing to go to respect those traditions.

 Further, in that regard, the Asian Paintings Lab, staffed by conservator Sara Ribbans, is one of only four in United States museums. Ms. Ribbans was trained in the Japanese tradition, and carries that on in Cleveland. The lab has a distinctly different feel than the other labs we visited, including low tables and Tatami mats -- the tools used, likewise, are the same those that have been used by Japanese artisans for centuries.

Rachel pondering frames

As the tour concluded and we made our way back to the classroom where the talk began, we once again passed through a long hallway lined, floor to ceiling, with empty frames. No, this isn't the secret frame shop in the museum, instead, it's storage for the frames that belong to pieces undergoing conservation. A sort of waiting room in the art hospital, if you will, where frames patiently wait to be reunited with their loved ones.

In any event it's quite an unexpectedly dramatic scene.

Oh, and another tidbit: There are more than 45,000 objects in the Cleveland Museum of Art's collection. Less than 2% are on view at any one time.

For more information about Column and Stripe, or to join, visit http://www.columnandstripe.org/

Lincoln

Cleveland Museum of Art: Art Crawl II

Almost exactly two years ago, the Cleveland Museum of Art hosted it's first Art Crawl -- still one of the most interesting events I've attended.

Tonight, Art Crawl Mark II was hosted after hours at the Cleveland Museum of Art. Though the Museum closed at 5:00, the doors reopened at 6:00 for eighty invited guests at the Circles donor levels and above. Divided into intimate groups of about twenty, we had four stops, each lead by a curator or conservator and paired with creative h'dourves and wine.

All four stops were wonderful and really demonstrated both  the passion and personality of CMA's staff. While it's easy to be intimidated by the academic aspects of art but the passion and enthusiasim is contageous.

Stop 1, Reto Thuring, Associate Curator of Contemporary Art with Janet Cardiff's Forty Part Motet

Until a couple weeks ago I can say I honestly had no idea who Janet Cardiff was -- until I got stuck at O'Hare with her when United decided to let our flight to Cleveland leave despite knowing our (different) arriving flights were only slightly delayed and arriving at the gate while the aircraft was still there. (No I'm not bitter, United).  Hearing the artist describe her work I wasn't sure what to expect, and to be honest based on other AV installations I was a little skeptical. Before tonight I had not experienced the work.

Reto provided some background on the artist and the work standing outside the 1916 building in the Atrium -- while occasionally the parting doors would let gasps of choral voices escape. Introduction complete we entered the 1916 building to a chorus of voices -- and the combination of voices and the imagery of the art displayed in the gallery was a powerful, almost religious experience much as if walking into an active cathedral. If you find the right pace in the room it is as if you are in the middle of a choir.

I highly recommend visiting the work (in a 1916-building level 2 gallery) before it disappears in early June.

Stop 2, Sona Rhie Quintanilla, Curator of Indian and Southeast Asian Art with the late 1400s Mandala of Vajradakini

Another relatively new curator to the Museum, Ms. Quintanilla provided  great insight into the Mandala of Vajradakini, currently in Gallery One's focus area just off the main entrance to the museum. Extending beond the surface artistic elements of the work I thought the discussion on Tantra, Yoga reincarnation and Enlightenment -- to be very enlightening (pun not intended).

Stop 3, Louise W. Mackie, Curator of Textiles & Islamic Art with Afruz Amighi's His Lantern.

A piece that I've walked by several times since the Islamic galleries opened and thought was interesting, Ms. Mackie's explanation of the piece -- a hanging woven polyethylene piece with projected light creating shadows -- brought an entirely new level of understanding to the piece and the artist. Connecting the symbols in the art to classic counterparts, such as a nearby prayer niche as well as subtle but more modern political statement -- keys echoing those worn in a war brought new understandings to the piece. Ms. Mackie's enthusiasm for the piece and her description of meeting the artist and artist's execution (hand cut with a hot metal knife) was also infectious.

Stop 4, Moyna Stanton, Conservator of Paper with Antonio del Pollaiuolo's Battle of the Nudes

The last stop was certainly not least -- and I'm not only saying that because paper conservation is an area of particular interest for Rachel -- Ms. Stanton's wonderfully in depth look at the history of Battle of the Nudes was a crash course in print making, differences between "states" in prints, the technique Antonio del Pollaiuolo's work, and the history of repairs to the piece and what has been filled in.

Like a good television drama she was really getting rolling and while I was on the edge of my seat (looking forward to hearing more about the work, particularly the photomechnical infill in one corner) the time was up and we had to move on.

The evening concluded with a light reception and quick remarks from museum director David Franklin, a nice way to wind down and chat with other patrons.

I can't wait for the next one -- and I really hope it will be less than two years this time.

Lincoln

How to Improvise Anything from a Hotel Room (Or: I'm in Pittsburgh)

The next few weeks will be challenging, not necessarily because of anything in particular but because I'm bouncing from project site to project site.

I've also been under the influence of the flu (or something similarly nasty). I think I've finally conquered it -- or at the very least forced it into the background. I just don't have time to be sick. (Though I have penciled in March 29th as a sick day -- it's my first day free of client obligations)

Last night I arrived in Pittsburgh and checked in to what has become my "go to" downtown Pittsburgh Hotel, the Hampton Inn in the Strip District. It's clean, relatively new, and perhaps my number one reason for choosing any hotel over another... I don't have to valet my car.

I'm not sure why I reisst valets so strongly -- and I've certainly loosened up since acquiring my new car -- but I really don't like it if it can be avoided.

It turns out that this was also a good choice because my project for this trip -- in the U.S. Steel Tower -- is a very easy 10 minute walk from the hotel. And the weather has been glorious. I love places where I can walk-- New York City, San Francisco, next week's project in Rochester, Minnesota.

After finishing up today and dropping my stuff back at the hotel, I walked along the Allegheny River portion of the "Three Rivers Heritage Trail System" past Pittsburgh's convention center -- coincidentally designed by Rafael Vinoly, the same architect responsible for the Cleveland Museum of Art's ongoing expansion project -- before zigzagging through downtown and past the buildings housing many of my past Pittsburgh projects (It was interesting, for example, to see how 3 PNC Plaza looks now that construction is finished and the hotel has opened)

Looking at the shared history of Cleveland and Pittsburgh, the latter's relative economic prospreity and downtown revitalization gives me hope of what downtown Cleveland can -- and should -- look like if we can get our act together.

On my way back to the hotel I was starting to get hungry but wasn't really being sold by any of the eateries I passed by, until I found one with sidewalk dining where all of the food  being consumed looked good. So I stopped in to Tonic Bar and Grill. Tables were scarce, and I wound up in this odd corner of the 2nd floor with only two tables: There was a couple at the other table and while we waited to order (and then waited for our food, and then ate our food) we chatted -- they were locals, but contrary to Clevelander's stereotype of Pittsburgh, they do not hate Cleveland.

It's amazing the wonderful if completely random conversations you can have with strangers -- who in all likelihood

Anyway the food was good, and after finishing I headed back to the hotel.
For better or worse, it seems one of the NCAA March Madness games was held in Pittsburgh today (odd coincidence: the dress shirt I grabbed out of the closet this morning is orange. One of the teams playing locally was apparently Syracuse, who's color -- again, it seems -- is orange) -- which certainly explains why my room was as bloody expensive as it was -- Pittsburgh usually isn't cheap, but this was pushing it. It also means that I wasn't able to grab a suite.

No suite means no refrigerator or microwave, and generally more sparse accommodation all around. Certainly not the end of the world for a two-day stay but there is the downside: I prefer my caffeine cold. No refrigerator certainly hampers that goal, and I don't want to stumble down to the gift shop half awake.

If there's one thing spending +/- 60 nights in hotels each year will teach you it's how to improvise: How to get the wrinkles out of shirts when the iron looks like it was used as a door stop in a demolition derby (and the bathroom exhaust is working a little too well), how to fit an entire dinner's worth of take out trash into a garbage can roughly the size of a two-liter coke bottle, and :how to defeat the bloody occupancy sensing thermostat so the room actually stays at a comfortable temperature"  among other "great acheivements in hotel room engineering".

Tonight's objective: Using only the items found in your room keep two 20-ounce bottles of Mountain Dew chilled. One until the evening, one until tomorrow morning.

Now ice buckets have been standard hotel room furnishings since the beginning of time -- or at least since the beginning of rattling, dripping icemakers near the elevators -- but I haven't figured out a task that they're actually useful for. Yeah, you can submerge about 1/2 of one bottle of soda and it will keep it moderately less warm for a few hours, but that's it.

There's also the wirerd plastic liner bag that there's no clear consensus on the proper use of -- I think of it as insulation to keep the melting ice off of whatever you're chilling, while others insist that it's some sort of sanitary liner for the bucket itself (mixing both beverage and ice in the bag so that whatever you pull out is covered in water).

But there's the sink. I pull the stopper, lie down a bed of ice (one bucket), put the two bottles of glorious caffiene inside the plastic bag, and fold the end over to minimize water intrusion. Lay two more buckets worth of ice on top -- and here's the real trick -- take a bath towel, folded in two, and spread it across the top of the sink, anchoring it with the ice bucket, to help keep the cold air in the sink and the warm air out.
Based on past experience, the ice will slowly melt over the course of the night and I'll have a pleasantly chilled beverage at my disposal in the morning.

Ah... the joys of business travel...

Lincoln

CIM: Elinor Rufeizen Junior Recital (@CIM_edu)

Debussy: Premiere Rhapsodie (Rafael Skorka, piano)
Hersant: In the Dark (for solo clarinet)
Reich: New York Counterpoint (solo clarinet with recorded  music)
Mozart: Clarinet Concerto, K. 622 (solo clarinet with chamber orchestra)
Elinor Rufeizen, clarinet, at Mixon Hall, the Cleveland Institute of Music.

I had been invited to Elinor Rufeizen's Junior Recital tonight by an acquaintance and patron of the arts. Although one of my goals has been to attend more individual student recitals, on the heels of my event last night I had contemplated a quiet evening instead. Rachel and I however made the quick trip to CIM for the recital and it was a delicious blend of music.

The program moved at a brisk pace and my interest never seemed to wane. From the two well known composers on the program -- Debussy's Premiere Rhapsodie beginning on the program and Mozart's K. 622 Clarinet Concerto ending the program -- the passion was clear and the notes comfortably expanded to fill the hall -- in the latter, Ms. Rufeizen played dual roles as solo clarinet and conductor to a chamber orchestra that supported her playing without trying to out play her.

In the middle of that sandwich was Philippe Hersant's In the Dark--a composer and composition known to few, if any, of the audience members and had a catchy, almost jazzy sound. One recurring, rounded, series of notes reminded me of the musical signature used in the movie Catch Me If You Can (odd connection, I know) and the abrupt ending caught me a bit by surprise.

The third piece on the program, another lesser-known composer and the most interesting to me from the evening, Steve Reich's New York Counterpoint, a piece for solo clarinet with recorded music and electronic effects, was layer upon layer of music created a polyphonic chaos that grew and subsided, ebbed and flowed: A note would build, reverberate, then decay while another note existed in the same space. Then other notes would appear and take over the stage. You could hear the sounds of the subway ... then the hustle and bustle of a crowd on the sidewalk ... then a traffic jam. All of the ambient noise you encounter in New York captured by a solo and recorded clarinet. It should be mentioned that playing to recording is much less forgiving than playing with live ensemble who can adjust on the fly -- but tonight there didn't seem to be anything that needed to be forgiven.

After the recital, the acquaintance and patron who had invited us to the recital hosted a wonderful reception in her home with a variety of conversation to round out the evening.

Lincoln

Cleveland Museum of Art: Fu Baoshi Young Professionals Night (@ClevelandArt)

The Young Professionals Event tonight at the Cleveland Museum of Art is one of those odd events where it came to my attention not through a single channel but through seemingly every vehicle I pay even the slightest bit of attention to. Needless to say, I was rather intrigued by the opportunity and was excited to "give it a whirl" so to speak.

Rachel was working at the museum tonight so after we were both finished with work for the day  we met in the galleries when we were both finished and killed some time in medieval and contemporary before making it back to the reception. The reception was quiet but well attended -- an interesting mix of people I know and museum staffers I recognized and completely new faces.

The reception featured Chinese takeout containers and deserts (I'm proud to say that I held my own with chopsticks, but Rachel had me firmly beat in that category). Also at the reception a supply of paper, ink, and brushes where you could try your hands at Fu Baoshi's techniques. Once again Rachel's artistic side had a chance to shine.

At 7PM, though, the most interesting -- and unexpected -- part of the evening began. Curator Anita Chung gave a guided tour of the exhibition, relating Mr. Baoshi's art -- both subject matter and techniques to the political and social climate which existed in China throughout his career, and his struggle to remain relevant (and not have his art appear elitist) after the rise of communism. Ms. Chung's enlightening presentation as we strolled through the exhibition also touched on the differences between Western and Chinese art: Where Western art tends to show things from a fixed perspective, Chinese frequently shows the subject over a period of time; where Western is quick to reject and adopt traditions (think all of the "isms") where Chinese has a very long tradition that isn't (or at least wasn't) readily rejected.

Ms. Chung was understandably very excited about her exhibition and her detailed (and far from boring) tour gave en excellent overview and things that will certainly help to appreciate the exhibition when I return to peruse it at my (our) own pace.

(as a side note today was Rachel and my septamensiversary)


Lincoln

Cleveland Play House: Open [Play] House

Cleveland Play House logo on the
Allen Theater Doors (more pics)

While it hasn't quite culminated -- the Play House's administrative offices won't make the move until October, and the new stages won't open until some time in the not-to-distant future -- the Cleveland Play House hit the climax of the massive move from the 8500 Euclid Complex to the Hip new Allen at PlayhouseSquare

Though the festivities kicked off at 4:30 both Rachel and I have "real jobs"* so, even with me sneaking out of the office a bit early we didn't make it downtown until a bit after 5:30... Walking through the Euclid Avenue doors there was an excited din; the largely untouched promenade gives way to the beautiful rotunda.

Carpeted but otherwise untouched the rotunda marked one of my favorite spaces in the PlayhouseSquare complex, but the removal of the back Hanna's back wall gives the space a much less siloesque and much more open feeling than before. While the acoustics in the center of the rotunda are still a bit funky, the carpeting has done wonders.

Passing through the rotunda the carpet continues into the new lobby with two glass-enclosed event spaces flanking the entrances to the house. Before you get there though a dimly lit lobby (the ceiling above is the underside of the Allen's original balcony which has been mothballed for the time being). Tonight a jazzy ensemble was assembled in the corner providing light music for the several-hundred deep crowd and it certainly had that relaxed lounge feeling. Hip furniture rounds that out, though the furniture did seem a bit sparse.

Entering the theater, the transformation from a 2,500-seat combination bowling alley and drab shoebox is striking to 500-seat modern theater is striking. While we weren't allowed to take the seats for a test drive, by their looks alone they should be infinitely more inviting than 8500's fabric-covered wood. Also of note, cup holders throughout the auditorium located on the seat backs. It is unclear if iced beverages will be permitted (one hopes not), but food is will not be open -- lest you be the one stuck next to someone crunching on potato chips while the drama unfolds.

I am withholding judgement on the efficacy of the metal scrim on the side walls: It looks cool, but as lit for the open house it was much harder to perceive the details of the original walls that I expected. Making our way back stage, the view from midstage into the house really emphasises the intimacy of space. Comparatively speaking, I think the view from high school's 299-seat Performing Arts Center main stage (built 1998) was less intimate-- but intimate does not equate to crowded.

The back stage area in general and the wings in particular are immense -- the proscenium opening has been narrowed to the great advantage of anyone working back stage. Further back stage you find the Roe Green Room, a playful combination of the theatrical staple -- the Green Room -- and the benefactor who has been dubbed by The Plain Dealer as "Fairy Godmother to the Arts", Ms. Roe Green. Along the same corridor you find an assortment of dressing rooms; these don't seem to have been touched by the renovation.

And there the tour ends--returning to the lobby, the din has, if anything increased, and the tour line is nearly out the doors. One of these days I hope to sneak into the booth, onto the catwalks and/or into the dimmer room -- the parts of the theater that most intrigue me but never seem to be included in tours.

"I seem to be kind of lost--I don't know where I am" I overheard one patron speaking to no one in particular while wandering the lobby with Rachel -- "This is where the back wall used to be" someone answered. "Wait? This all used to be inside the theater." the surprised answer.

I doubt anyone who has been in the Old Allen would recognize the New Allen if brought into the theater blindfolded. And that only means good things.

The inaugural show for CPH's new home, The Life of Galileo begins previews this Friday and runs through October 9th at the Allen Theater, Playhouse Square (Euclid Avenue between East 14th and East 17th Streets).

Lincoln

*-No, an advertising-free blog doesn't generate enough revenue for me to just kick back. It's actually a rather expensive hobby.

Cleveland Play House: Hanna Theater Happy Hour

About a month ago I attended the Cleveland Play House's Annual General Meeting largely for the promise of tours of the Allen Theater.

At that meeting, I was reminded about the Happy Hour that was scheduled for August 10th and lured with the promise of additional tours. Now tours were not my primary motivation for attending tonight's happy hour -- the CPH Happy Hours are generally great events with a ton of....well, happy...socialization. I've been to more of them than I've blogged. There was additional motivation in that I was curious about the evolution over the span of a month.

Tonight was no exception the CPHers once again were warm hosts and great conversation persisted through the evening. Rachel, my girlfriend, joined me and though she has not yet attended a CPH performance (yes, we need to fix that) was warmly welcomed by all.

Tonight's tours were significantly more limited than those last month -- reportedly, construction progress at the new PlayhouseSquare home has made access to the house, where seats were installed shortly after the Annual General Meeting, by the touring public impracticable. Most impressively, the temporary wall has been torn down, and the flow from the old lobby to the new lobby feels great, even if there are still some temporary obstructions blocking the view.

Today, Artistic Director Michael Bloom talked to the group on Dodge Court looking at the new *(and much shorter and more direct) gerbil tube linking the garage to the rest of PlayhouseSquare and the Cleveland Play House's two new ground-up theatres.

Here's a shot of the back side of the theatres plus the new gerbil tube (right), taken by Rachel since I inexplicably let my cell phone in my car

Some random tidbits picked up along the way:
- Mr. Moore described the transition as moving from "your grandfather's Buick to a Chevy Cruise"
- Galileo, the first show of the new season in the new home is being built and rehearsed at 8500 Euclid and will be loaded in to the Allen on September 11th.
- CPH's new offices will be ready end-ish of September, and the hope is to be completely moved out of 8500 Euclid by October/November with December as a firm deadline.
- Quote selected by the playwright of Galileo: "Theater without beer is just a museum"
- GenNow is a new program designed to lure 20-40s young professionals to the great cultural features of Cleveland and will offer significantly discounted tickets along with a happy hour or similar social event for select performances.

I'm starting to type incoherently now, so I think that's it for this post, but I've stumbled across some old writeups on the Bulkley Building -- in which the Allen is located -- which I suppose I shall save for a later post.

Lincoln

Cleveland Orchestra: A Midsummer Night's Dream [and Meet the Musicians Picnic]

Mendelssohn: Three movements from Incidental Music to A Midsummer Night's Dream, Op. 61 (Sherzo - Nocturne - Wedding March)
Bruch: Violin Concerto No. 1 in G minor, Op. 26 (Baiba Skride, violin)
Strauss: Don Juan, Op. 20
Enescu: Romanian Rhapsody No. 1 in A major, Op. 11
Bramwell Tovey, conductor.

Earlier this week I received an emailed invitation to a picnic with musicians from The Cleveland Orchestra on the Blossom lawn before tonight's concert. I was on the fence (let's face it, I don't do well with strangers--and I had this vague vision of "Hi, I stalk your concerts weekly" being the only musterable conversation-- but after arriving and feeling the well-marked group it proved a great evening. The musicians were spectacularly hospitable, the conversation was good, and spanned all topics [including, perhaps most surprisingly, a discussion on weather Wendy's or White Castle was more representative of the American hamburger]... and it was just great to talk to the talented musicians of the Orchestra outside of the musical context with a very organic and free-form feeling.

In the group that I settled into, was Assistant Conductor Sasha Makila who's work I have admired but whom I had not yet met. In addition to being funny and charming, I appreciated his willingness to answering some questions on conducting that have had be wondering for a while.

It was a great opportunity and one that I hope will be repeated frequently: I made it to my seat in the pavilion just in time for the start of the concert. Plaguing the first half of the program more significantly than the second half, Mr. Tovey seemed really stiff and restrained, and as a result, the first two pieces on the program felt overly restrained and a bit stunted.

That said, In the Incidental Music from A Midsummer Night's Dream -- aptly placed on a midsummer's night -- Scherzo was beautiful, and Nocturne didn't hold my attention (that could be restrained conducting, or it could be the extremely loud unexplained crash that reverberated in the pavilion). The three selections concluded with one of the best known pieces in the classical repertoire--but the first time I've heard it played by an orchestra--the Wedding March. Though thoroughly enjoyable, was much quieter than, and the celebratory feel was a bit more muted I would have expected (Though I have to admit pondering what kind of fee the orchestra would require to play the Wedding March for an actual ceremony)

For Bruch's Violin Concerto, I have to say that Baiba Skride's performance was amazing. Her sound was fascinatingly sweet, and at some point early in the first movement the conscious brain switched off and my ears and subconscious just enjoyed the sound while I stared off into the Blossom rafters, lingering there through the second movement, and returning to the real world in the Allegro energico Finale -- wihch between the warm energy of the music and the Ms. Skride's sweet sound made my favorite movement of the evening.

Following intermission, Mr. Tovey seemed notably looser and less restrained than the first half of the program and the overall sound of the orchestra benefited greatly. I enjoyed Strauss's tone poem of the story of Don Juan: The bravado, the romantic chase, an orchestra that, to borrow the words of the program note, "charges along undaunted". As the piece approaches the end pauses can be seen as a dying breath (the program note's interpretation) or perhaps of something finally slipping out of grasp.

Closing out the program Enescu's Romanian Rhapsody No. 1. In his remarks to the audience, Mr. Tovey mentioned that the orchestra had last performed this work in the 1950s* (which would place it around the time of the composer's death). The first time I've heard any of Mr. Enescu's works, I thoroughly enjoyed it: With roots in folk music, the piece begins with sounds moving around the orchestra, building, and eventually involving the entire orchestra in a vibrant and energetic sound evocative of a folk dance.

Lincoln
*-Curiously, the program for this week's concert was missing "At A Glance" information for all four pieces, which would typically include orchestration, running time, and previous history of the piece with the Cleveland Orchestra.

Cleveland Play House: Annual General Meeting and Allen Theater Tour

For the past two days I've been pretty much nonfunctional -- I suspect it's the final vestages what I had a few weeks back rearing its ugly head. The good news is that by this afternoon the headache had receeded to the point where I felt like a mostly functional member of society, and it was none too soon as I've been looking forward to tours of the Cleveland Play House's new theatres and I just barely made it. (And I failed completely to remember to ask Mr. Bloom or Mr. Moore the programming-related questions I intended to ask)

General Meeting, in the Westfield Insurance Studio Theater: Nothing too suprising here, but some highlights

• The playhouse will be offering an open house on September 12 with tours of the completed spaces*



• The theaters have been described as a five-year project executed in 18 months.



• Artistic Director Michael Bloom wants to venture into more adventerous programming , and sees subscription sales as the avenue to that end.



• To say that the subscription sales mantra was repeated ad nauseum is a borderline understatement.



• That said, it looks like subscription sales to date have been strong based on seating charts on display.



• Mr. Bloom promises the best Cleveland Play House season in several years, with some bold choices, but also opportunites for more conservative patrons.



• There are fewer than 59 calendar days remaining until the first main stage production begins previews.



• The Power of Three campaign (linking Cleveland State University, PlayhouseSquare, and the Cleveland Play House) has "identified" $23 million towards a goal of $32 million with 9 gifts of $1m or more. The younger advancement campaign has raised $2m towards $12m.



• Several negative comments were made from the lectern ("2 years ago the Play House was on the brink of extinction" and that over the years the Play House had evolved an "unsustainable economic model") but those comments were rearward-looking, and the forward-looking comments were pretty rosey.

Also introduced, a new Play Dates program. While it is not what I originally thought based on the name and one of my oft-repeated complaints when I was single (that is, a theater going option for singles) -- instead, I think it's equally attractive for a different demographic: At selected mattinees, you bring your children to the theater and they are entertained and educated in a separate space with age-appropriate materials while you take in a play. The cost is only $15 per child per play, and it will be available for one matinee of each show in the season.

Allen Theater Tour: I was excited to get into the Allen for the first time today, but I was a little disappointed that there wasn't earlier access: I thrive on open studs and incomplete framing, and the Allen Theater itself is suprisingly complete. I'm a tad skeptical that it will be completed on time* but it actually looks pretty promising.

(If you want to skip my blabber and see a few photos I didn't blab about, see the Flicker Photo Set here)

Entering through the Euclid Avenue lobby, the scars of the thankfully-demolished box office (it was a in a horrid configuration) are still on the floor. It is unclear where the new box office will be located

While a Cleveland Play House board member or staffer (I failed to grab his name) described plans that are being discussed to make the Euclid Avenue lobby feel more contemporary without compromising the historic integrity:

Walking into the elipse rotunda, and passing through a combination-locked construction door, Artistic Director Michael Bloom provdes a glimpse of the new lounge-like lobby (the plasticed doorway leads to the new theaters that are being created and the space I was most looking forward to seeing, he also commented that to the best of his knowledge this is the only contemporary theater that preserves the shell of the historic outer theater, as most designers will want to gut the building and start from scratch.

The doors in the center of the frame lead to the House Left and House Right seating areas.

In the house, my first impression is that this will, inded, be infinitely better than any of the Play House's spaces at 8500 Euclid. I had my doubts, but standing in the still-unfinished space everything comes together--it's also a much more intimate house than the former Allen. (Interesting tidbit: The house floor has been raised "several feet" from the original floor level to give the house a more live-theater-like rake than the moviehouse-like rake that had previously existed) Accoustical wall treatments are up, and made from perforated metal: If backlit, the historic details of the walls will be visible; if forelit, the theater will take on a decidedly contemporary appearance:




Meanwhile, accoustic clouds have been mounted below the ceiling, allowing you a decent view of the historic details above. The modifications have been designed to be completely reversable, so in 30 years if there was a desire to, it could be restored to historic accuracy:


The edge of the new balcony; the new balcony is built completely in front of and independent of the orginal 800-seat balcony, something I hadn't realized before today:



Of course, the new control booth -- I'd love to see inside after the work is finished



After leaving the Allen theater proper, Associate Artistic Director Laura Kepley enthusiastically (seriously: she was moving fast enough that every one of the pictures I got had some evidence of motion blur) describing the construction for the other two stages behind the temporary construction wall. Alas, we were not taken behind the wall.


There are more photos in the Flickr Set at Here, but I think that covers the basics.

Lincoln

*- Hey, dealing with construction is a big part of my day job (and the reason I own my own hard hat, thankyouverymuch) and I can't think of one of those projects where construction was completed on time.

Cleveland Orchestra: Blogger's Night

Before this evening's concert (see this post), the gracious hosts of the Cleveland Orchestra had offered an invitation to a "Meet the Musicians" panel in a room deep below the Blossom stage, providing a great opportunity to meet other orchestra fans and--more so, of course--to hear from Orchestra musicians, particularly:

Franklin Cohen - a clarinetist who I've become familiar with via a series of house concerts and intimate recitals, joined the Cleveland Orchestra in 1976. On August 28th, Mr. Cohen will be playing Weber's Clarinet Concerto No. 2. The third time he's played this piece with the orchestra, he commented as he's gotten older he's gotten bolder and it's paid off. Mr. Cohen related the humorous story of when he and his mother attempted to hear the piece from the front row of Carnegie Hall when he was 10 -- after a long string introduction, the clarinet is supposed to enter with a high note: In that case, all that came out was a long squeak, and the 10-year-old Mr. Cohen and mother were overcome by laughter and had to leave the hall. For his part, Mr. Cohen promises a squeak-free performance.

(Jung-Min) Amy Lee - a relative newcomer to the Cleveland Orchestra, starting as Associate Concertmaster in 2008, started piano lessons in her native South Korea at the age of five. Her teacher felt that she was musically talented but that she shouldn't be playing the piano. After her mother eliminated cello from the running (fearful, understandably, that she would be stuck carrying the instrument) Ms. Lee found her way to the violin. Presuming--and hoping--that the Joffrey Ballet's labor issues are resolved prior to their scheduled engagement August 20th and 21st, Ms. Lee will be playing Stravinsky's Violin Concerto from the Blossom pit to accompany George Balanchine's choreography for one piece. Although Ms. Lee has never played this concerto, she has always wanted to and feels that it is technically challenging.

When asked the differences between solo, chamber, and orchestra playing, Ms. Lee remarked that playing with The Cleveland Orchestra is like playing with a big group of people who are plying chamber music, and not many orchestras have that quality.

Principal Second Violin Stephen Rose will be playing Bach's Violin Concerto No. 1 with the Cleveland Orchestra at Blossom on August 22nd. Commenting on the piece he remarked to the effect that sound is influenced by the instruments, and as the orchestra doesn't play on baroque period instruments there will be differences--the bows are different, the violins themselves are different, and the method of playing has evolved, but there are no appologies to be made*. A CIM graduate who had previously attended a music festival in Hudson (a common string between Mr. Rose and Ms. Lee) he remembers the first time he heard The Cleveland Orchestra, it was at Blossom and with a violin soloist. No doubt those memories will be rekindled on August 22nd.

Last but not least, Principal Timpani Paul Yancich, who joined The Cleveland Orchestra in 1981 spoke about Dynasty Double Concerto for Timpani and Orchestra which he and his brother commissioned from composer James Oliverio, and which will be played for only the second time by he and his brother, Mark, on September 10th, the last concert of the 2011 Blossom Festival season. Despite any lingering sibling rivalries, Mr. Yanchich comments that the two parts are wholly interdependent and on roughly equal footing. Speaking of feet, Mr. Yanchich comments that as opposed to violin where you have five fingers and access to all of the available notes within the roughly foot of fingerboard, the Timpani is tuned by foot and you really only have two hands to play with making it a more limited instrument... but in the case of this concerto, the composer has access to four hands and four feet to push the envelope a bit.

Lead by Orchestra General Manager Gary Ginstling, following the discussion on individual concertos, the discussion turned Brucknerian -- between the topic of this evening's concert and the Orchestra's impending visit to New York's Lincoln Center -- and his distinctive "wall of sound". Mr. Rose commented that with Bruckner, every musician was but a small part of the sound, and Ms. Lee added that she felt the main job was to blend, and if you are able to here yourself play outside of the whole you are playing too loudly. Mr Cohen, looking out on to the trees of the Cuyahoga Valley National Park, embracing Blossom, noted that while it is a wall of sound that wall is composed of many leaves of different colors, and while nothing stands out if you start to take away the leaves the wall fades. Finally, Mr. Yancich observes that for the timpani the pieces are slower moving and you have an opportunity to hone in more on the essence of the sound along with calm rolls on the instrument.

Lincoln
*- I feel like I've done a particularly poor job of summarizing Mr. Rose's comments; if anyone there has a better version, I'd be glad to hear it.

Cleveland Museum of Art: Save The Date/Atrium Preview

Most people who know me know that I love pulling back the curtain -- looking behind the scenes, touring buildings while construction is in progress, attending rehearsals -- anything to see how something comes into being, and in a way how something evolves.

That's why I was delighted when a very good friend invited me to the Cleveland Museum of Art's "Save the Date" event last night, in the Museum's grand new atrium. I wasn't sure what to expect from the space or event, but entering the atrium I've been eagerly peering into through a 12" portal for the past couple years I was a bit awe-struck. The west wing is only a skeleton of steel; the north wing galleries and office space are open studs with the beginning of drywall. Scaffolding is covering a portion of the 1916 building...construction equipment is scattered, the floor is unadorned concrete...The atrium's glass ceiling is finished.

In addition to my attraction to construction in progress I've always found some attraction to the trendy-party-in-a-gritty-abandoned-warehouse concept that seems to appear in movies yet I've never found in real life -- but this struck me as a very close substitute in terms of the physical texture. (Attendees were required to sign a construction liability waiver, but hard hats were not required)

From the precarious perch of a scissor lift, museum Director David Franklin announced to the assembled crowd that he was proud to announce the $350 million acquisition of a piece of art entitled "Construction Site". While clearly a joke (with a few laughs from the crowd), even in this state the scale of the atrium an the project it is a part of is clear; it will be an amazing space both for the museum and the City of Cleveland, and if the level of finish seen in the phases completed thus far is maintained, the finished product will be a work of art.

That "finishing" -- the grand reopening of the Cleveland Museum of Art -- is now set for December 31st, 2013. Planning ahead, let alone two and three-quarters years ahead is something rather notoriously not done by the male side of my family...but if they'd let me I'd be thrilled to RSVP now.

After the introduction the party adjourned to the museum's North Lobby and Gallery 101 -- the typical location for events like the member's reception -- with a great assortment of food and drink. The rooms were simply buzzing with excitement, and after working the room for a while my friend and I found a bench and chatted until the crowd thinned.

Lincoln

Cleveland Young Arts Professionals Network: Gray's Auctioneers Preivew

One of my tweets from earlier this week was a random thought that popped into my head: "Sometimes I'm surrounded by so many visionaries I feel blind"* -- I had that feeling tonight.

The Cleveland Young Arts Professionals Network (CYAPN) is a grass-roots organization to bring like minded individuals together. When I first learned of CYAPN, I was intrigued but thought that as a YP but not a YAP it may not be for me... I was wrong. Tonight's event was the first since "signing up" over the summer and it was a great evening.

Starting with Gray's Auctioneers it was my first venture into a "live auction" location and the atmosphere was fantastically laid back. Tonight was a preview for an auction on Thursday featuring a large number of rugs -- as proprietor Deba Gray encouraged "touch everything but the staff". It was fun to browse, the conversation was good. Just a nice way to spend an evening with a small group with similar interests in Cleveland's vibrant arts & culture scene.

By the way if you are -- or know -- an artist, you should consider submitting your works to the Cleveland Art & Design Auction. A juried auction, not all submissions will be accepted, but Ms. Gray's goal is is to expose Cleveland artists to the world market -- via a first-annual live, phone, Internet auction. Her goal is to prove that artists don't need to leave Cleveland, as well as to "pimp out" their work to others. Though a commission will be taken, the majority of the profit will go to the artist. Submissions@graysauctioners.com or 10717 Detroit Ave, Cleveland 44102. Official deadline is 12/15 but I understand its been extended.

Following the preview a small group assembled in a member's beautiful nearby home for great snacks and even more conversation. If interested in future events check out the network's Facebook page.

Lincoln
*- I'm sure I probably owe someone an attribution--I haven't the faintest idea whom.

Cleveland Play House: Festival of Trees Lighting (And Happy Thanksgiving!)

The weather outside isn't frightful (yet), there's no fire but still inside is delightful at Cleveland Play House's Festival of Trees.

It's hard to believe that we're at the tail end of November and that this coming Thursday is Thanksgiving but here we are. An annual tradition for the Cleveland Play House is their festival of trees where the lobbies and corridors of the Play House's complex are filled with Christmas trees sponsored and decorated by a variety of local organizations.

Tonight was the official lighting of the trees and in the beauty of the trees, the joy of the music, and the energy in the rooms one couldn't really help but to slip into the holiday spirit.

So on your next visit to the Cleveland Play House this season, take a few moments to stare in awe at the beautifully decorated trees. The centerpiece of the festival is a giant 25-foot-tall tree in the main rotunda decorated with program covers from the Play House's 95 seasons -- showing the evolution in graphic design (what I wouldn't give to thumb through some of the early programs!), theatrical tastes, and the Play House itself. But at the same time enjoy the scrappy but lovingly decorated tree nearby.

A variety of factors are conspiring to keep me from making the trip home to spend Thanksgiving with my family, but be your loved ones physically near or far may they be close and safe this holiday season.

Lincoln

CPH Happy Hour and Cleveland Chamber Symphony: Music That Dares to Explore

I found myself in University Circle for two events this evening -- starting with another Cleveland Play House Happy Hour and finished with a Cleveland Chamber Symphony Concert.

Part 1. The Happy Hour. At Uptowne in University Circle (on the corner of Mayfield and Euclid), I walked into a standing-room only bar. Some familiar faces from the last Happy Hour, and similarly good--tending toward better--appetizers. Good conversation. Generally a fun event, but in keeping with my policy* of not reporting personal conversations there's not much else to say. One major difference: The sales pitch (from a gentleman who's name I did not catch) was even shorter than Michael Bloom's previous record-holder.

Part 2. The Concert. After excusing myself from the Happy Hour I made it to the Cleveland Chamber Symphony's concert at the Music Settlement. The program cover declares "Music that Dares to Explore"...
Man: Maroon (2005)
Mumford: a garden of flourishing paths (2008)
Stucky: Boston Fancies (1986)
Steven Smith, conductor; Sean Gabriel, flute/alto flute; Andrew Pongracz, precussion; Stuart Raleigh, piano; Susan Britton, violin; Laura Shuster, viola; Heidi Albert, cello.

"New Music" is a quite distinct category. Despite a name that implies primarily a temporal focus, the structure of these pieces is distinct from most music including traditional classical structures. It's music that I struggle with -- though not so much as, say, country or metal -- but music that doesn't, as a whole suck, me in. The three pieces on tonight's concert were all relatively short and moved at a brisk pace.

As part of Cleveland Chamber Symphony's Meet the Composer series, the composers for the first two pieces on the program were in attendance. Fang "Mindy" Man's Maroon was inspired by sounds she associated with the color, and she hesitated to comment on what she was trying to evoke, instead wanting the audience to let the music work on their imaginations as it may. To me, perhaps predisposed based on the piece's program note and my recent return from Las Vegas the beginning of the piece evoked images of the desert -- Arizona to be specific -- but that imagery faded as the end of the piece approached.

Jeffrey Mumford's a garden of flourishing paths consisted of eight individual and very short movements inspired by the West Garden Court of the National Gallery of Art in Washington DC -- perhaps not having a visual context of that garden, none of the movements was long enough to appreciate individually and as a whole it didn't move me.

Finally, Stucky's Boston Fancies--seven movements alternating in tempo. The first movement (Ritornello 1.) struck me, of all thing, as a film noir overture, and the remainder of the movements flowed naturally.

Of course, the performances were well-executed, including some unconventional playing... and it's worth remembering that even Beethoven was new at this point. Support new music now and who know what will be being said 100 years from the present.

Lincoln

*-Though I tend to cringe when referred to as a "critic" or "journalist" -- titles I'm wholly unworthy of I do have a set of ethics guidelines that I try to adhere to. One of them is that I get consent before blogging about the contents of any one-on-one conversation.

Anyone Claiming "There's Nothing to Do In Cleveland"

As a non-native -- someone who doesn't instinctively respond "I!O!" when prompted by a stranger screaming "O!H!" -- people often ask why I say I love Cleveland, not infrequently adding "There's nothing to do here".

This reaction has tempted me, on more than one occassion, to kidnap a person to show them Cleveland through an outsider's eyes. That probably wouldn't end well. But the thought has crossed my mind.

I bring your attention to the past 9 days, wherein I personally...
Attended one visual arts event. Cruised the museum of art solo, twice. Saw two plays: One hysterically funny, one left me feeling as if I was a hostage to boredome. Attended two faculty recitals of chamber music. Heard the concert that opened the Orchestra's 2010-11 season. Saw a comedy show. Saw and heard an opera. Mingled during two happy hours. Met a new friend for wine. Had a violin lesson. Attended a rehersal that was amazing. Got a couple 10 mile walks in.

That's right...15 events in 9 days...and there are at least two that I was interested in that I didn't make it to for one reason or another. And yet, "Why would you move here? There's nothing to do in Cleveland!".

Disappointing, of course, that I didn't meet any singles "my age" during any of those events, but there are certainly things to do in Cleveland. And I'm just an "artsy guy" -- if you add sporting events to that list, you get well...a nearly endless variety.

Particularly worth noting is that more than half of those events were free; all but two under $50...(And I think there are options for both of those that would get them at or under $50 in the right circumstances).

Why I love living in Cleveland...

Lincoln
(Presently in Columbus for work.)

Opera Cleveland: Bizet's The Pearl Fishers

Before this evening's opera, I attended a Happy Hour at the House of Blues Cleveland's Foundation Room -- while relatively short--at just over a true clock hour--it was another interesting event with good conversation. The host for the event mentioned walking, and leaving HOB I realized that I would have both felt more comfortable about drinking (limiting myself to one glass of white) and saved $5 on parking at East 4th if I had parked in Playhouse Square's garage and walked to/from the HOB... anyway...

After relocating my car I downed a cupcake in the State Theatre's lobby (Cursing fate: The one time I was really craving a pretzel for 'dinner' they were not to be found) and entered for Opera Cleveland's presentation of Georges Bizet's The Pearl Fishers.

I've said before that Opera is an art form that challenges me. Tonight I must admit defeat in response to its challenge. The music was beautifully played, the libretto beautifully sung, and the set was a a fantastic blend of minimal but eye catching physical props with tastefully (not over) done multimedia. The show received one of the more enthusiastic applauses I can recall from an operatic performance.

But it wasn't for me. Perhaps the length -- the program lists the running time as 2:30 including two 2o-minute intermissions: If that was accurate and allowing for the customary 5-minute hold, the 3rd act would have been approximately 10 minutes. It was not. Perhaps the foreign language: Again, the placement of the surtitles in relation to the set makes it impossible to follow both action and plot at the same time-- even reading the synopsis, I'm not entirely sure what I saw, heard, and listened to so beautifully.

But whatever it was I found myself entirely unmoved: Though I stayed through the curtain call, I felt no compulsion to linger.

In the vein of "history is taught in a vacuum" seeing the premiere date -- September 30, 1863 -- perhaps in conjunction with the trivia note in the program that John Wilkes Booth's appeared in a Cleveland venue just prior to the assassination of my namesake was in Cleveland -- fell in the middle of the American Civil War. Not that that's of iny significance, it's just an interesting point to ponder.

Lincoln

Playhouse Square: Tweetup and Last Call Cleveland

I've come to the conclusion that I need to widen my network of friends* and that the best way to do that is probably by attending more socially-focused events**. I'm also trying to turn down my overly-cautious [read: pessimistic] side by asking fewer questions.

As such, when I saw the announcement for the TweetUp from Playhouse Square, I had no idea what it was but I figured I'd check it out: Though the crowd was a bit quieter than I had expected, it was great to put a few names to faces and I had one of the better random-stranger conversations over a happy hour glass of white zinfandel. (By the way, I can be found over there as @lincolnjkc if you want to read my musings 160 characters at a time)

Immediately following the TweetUp in the same venue -- Playhouse Square's 14th Street Theater -- was a show by sketch comedy group Last Call Cleveland. The ticket was cheap, the parking was already paid for, what else would I do on a random Friday evening?

I laughed. I didn't laugh. I laughed some more. I think this is the first comedy show I've seen live. Though I'm not sure if Last Call is something I would go out of my way to do again, it was a pretty decent way to spend a few hours. My laughter level would have almost certainly been higher if I had drunk something alcoholic immediately before or during the show -- but overall it was enjoyable; the plot tying the sketches together got a bit tiring, but the jokes at Toledo's expense never did.

I thought I recognized someone from Pandemonium, but "Excuse me, were you wearing a swan as a dress two weeks ago?" was not a question I was prepared to ask with a straight face.

Lincoln
*- Generally as well as romantically: The online dating thing is leaving me even more frustrated than usual lately. (In seven words: "If you aren't interested, just say so.")
**- Let's face it, "Intermission At ________" is rarely listed as a place where people met friends, let alone significant others.

Cleveland Museum of Art: Member's Appreciation Day 2010

Today made for a confluence of events that seems only natural for Cleveland: I started the afternoon at The Cleveland Museum of Art for the 2nd annual Member's Appreciation Day, then well, Part II.

Last year, member's appreciation day was something I literally stumbled apron while my dad was visiting -- the postcard announcing the event arrived 2 weeks later. This time I had plenty of advanced notice.

I had originally planned on walking down but with the skies and the forecast looking uniformly ominous -- and having done my "official" weekly 10-mile walk yesterday, the decision was made to play it safe and drive.
This year's program for the afternoon didn't include the "Behind The Scenes" events that I found so fascinating last year, but the event was still worth attending.

The afternoon at CMA began with a presentation by chief curator Griffith Mann on the upcoming exhibition Saints Relics, and Devotion in Medieval Europe. While there's still a month to go before the exhibition opens, the context given by the talk was great. Being a mother-and-grandparents Catholic* with a potentially unhealthy degree of skepticism and not the best grasp on religious history, for example, the opening declaration that relics serve as objects of saints and as art to both authenticate the object and provide a connection between the viewer and the saint with whom they connected.

I'll avoid the rundown of artifacts, both because I can't read my own handwriting from the notes and because you should just go to the exhibition at least once anyway, but it's interesting to note that this exhibition--opening in Cleveland--marks the first time many of the objects have been seen outside of their home country or the first time they've been seen in the US; with several objects are on loan from The Vatican or The Treasury of San Marco in Venice.

At the end of the talk, I stumbled upon the Cleveland Museum of Art's Distance Learning studios which I approached with a degree of both professional and child-like curiosity, the latter thanks to their Picture Yourself in a Masterpiece! demonstration, using their collection of digital images and green screen technology to insert patrons into the art. The attractive young lady in front of me chose the Mona Lisa, I appeared in (on?) The Thinker. It was a fun exercise, and the resulting images should be emailed out sometime next week.

Working my way up to floor 2.5 -- yes, you read correctly: Floor two-and-one-half -- of the Museum's Breuer building, I made my first visit to the Ingalls Library. While I knew of the existence of the library, the tone of Museum's website gives the distinct impression that mere mortals are not welcome so I've never attempted to visit or discern the location. The reading room, home to a silent auction**, was gorgeous. Following, was a talk titled Exuberant Excess in Strawberry Hill in the library's reference room. The talk was interesting, but I felt quite disadvantages as far as context (I'm not 100% clear on the who, what, where, when, why, or how) of Strawberry Hill.

Of the four gallery talk ("American Landscape Paintings--Twilight in the Wilderness by Frederic Church", "Educator of the Modern Gallery", "Art of the Byzantine Era", and "For You, Always New: Recently Installed Contemporary Art") I had varying degrees of interest in all, but due to scheduling overlaps I only made it to a portion of Art in the Byzantine Era. Though this was actually the one I had the least initial interest in, once again, hearing the context and historical use of the art and artifacts on display was quite helpful -- several connections were made to, and points emphasized from, the upcoming Treasures of Heaven exhibition.

On my way to that gallery talk, I got sidetracked by the Art Cart. Though I part of my brain feels it far too early in the season to be donning gloves, it acquiesced to the more rational part of my brain. In exchange: The opportunity to go hands on with three dimensional works of art that are not just centuries but thousands of years old: A bowl, one of the two pieces I handled, for example, has an accession date of 1914 [remember the museum opened in 1916] and is somewhere in the neighborhood of 4,500 years old, stunningly somewhere around 2,400 BCE. I've often looked at painting and objects on display and marveled at the detail or simply that the work has survived for such a long period of time.

Being a tactile person I've often wondered, though, what the objects feel like. The art cart gives that opportunity. While the sensation was slightly muted through cotton gloves it was fantastic to feel the detail, weight, and texture. The bowl made from a granite-like stone chiseled and sanded was remarkable with a lip and internal styling not found in my own 21st century machine-made kitchenware.

But alas, before the For You: Always New gallery talk--arguably the one I was most interested in, it was necessary to move my car across the circle for Part II of the afternoon at the Cleveland Institute of Music.

Lincoln
*- you may wish to compare with Christmas And Easter Catholics.
**- There were actually quite a few interesting pieces on offer, yet none sufficiently spoke to me to break my "this is why you can't have nice things" rule (see Day 1 in Jacksonville). Even if I could afford them I doubt that they would survive in my collection.

Playhouse Square: Take a Hike Walking Tours

Once again I find myself in a suburb of Pittsburgh. Once again I took a parting taste of Cleveland culture before heading East.

In this case, a friend* and I met up with 30 or 40 other people in the lobby of Playhouse Square's State Theatre for "Take a Hike Cleveland"'s walking tour of the theatre district. I wasn't sure what to expect, but as both of us are outsiders (non-natives) I was sure that there would be some interest tidbits along the way.

And there were. Early in the tour there was some information that wasn't new to me (namely that Jaques Brel is Alive and Well and Living in Paris played the State Theatre lobby for 2 years, and the mural "Spirit of Cinema: America" appearing on the cover of Life Magazine and being credited as one of the catalysts for Playhouse Square's revival) but was new to my friend. As the tour progressed, though, a wealth of details were revealed.

Among memorable highlights--of which there are too many to completely list here: The planters along Euclid Avenue are designed to look like a bouquet offering the flowers within to passersby; the abstract figures adorning the RTA Healthline station are intended to be evocative the silhouette of a chorus line [I had always guessed palm trees and could never figure out the placement], that there are two theatres that didn't survive into the modern Playhouse Square era, and, of course, details on the glorious revitalization of neighborhood buildings and their historic tenants.

Also intriguing were the two character actors who made appearances: Alan Freed explaining his role in coining the term Rock and Roll at WJW radio--well known--as well as the background of the record store owner sponsoring his show to play rock to stimulate sales to a new demographic--something that I did not know. Even more fascinating, the appearance of the Hanna Theater's** long-time general manager "Mr. First Night": I for one was utterly blown away by the history--and history of American Theater embodied by that oft-overlooked venue on East 14th street. (Did you know that Rogers and Hammerstein had an affinity for Cleveland, with the original national tour of South Pacific, among others, opening in the Hanna? Or that for decades performers signed the back side of the Hanna's main curtain, now in the care of Cleveland Public Library's Special Collections? This spiel alone was would be worth the tour: I have to stop myself here, that could be an entire post of its own)

In the end the tour, covering roughly from East 9th to East 18th along Euclid, Prospect, and Huron was about 2 hours -- longer than I had expected, but it still left me wanting more. In addition to the history, it was a great opportunity to see the beautiful buildings at a slower pace and with greater perspective than driving down Euclid.

Other tours are offered of other Cleveland neighborhoods and I may be doing the Gateway District tour in early September. The last opportunity for the Playhouse Square/Theatre District tour is next Tuesday at 6pm meeting in the State Theatre lobby... and bring comfortable shoes.

It was well worth the time, and being free you can't find fault with the cost.

Lincoln
*- Don't get all excited, this is the same "Just Friends" friend mentioned in earlier posts. The finder's fee is still out there.
**- Incidentally, I realized that I seem to have fallen off of Great Lates Theater Festival's maling list: I don't think I've seen a season schedule in close to 2 years now.

Cleveland Play House: Happy Hour (August 16th)

For those not 'in the know', the Cleveland Play House has been hosting Happy Hours around Cleveland for a little while now. It seems, however, my schedule has conspired against me -- and I've made excuses for not attending one as yet. Not to mention several of the venues have struck me as West Side and as an Eastsider, the West Side scares me.

People outside Cleveland may not recognize the significance, particularly given the relatively small and subtle geographic distance, but to a Clevelander -- even a Clevelander who has only lived in this* beautiful city for five years -- the difference is vast (New Yorkers who detest, even fear, venturing to a distant borough may recognize the feeling); it's not unlike crossing a state line, perhaps even a national border.

This border, however, is unclear: I personally lump anything West of Ontario St. as West Side, with the occasional 'Near West Side'** and 'Far West Side'*** when needed -- however, I have debated the subject with friends who argue that Tremont is "downtown" and not "West Side". I disagree, and I digress.

Anyway, last night was the Play House's first Happy Hour of the 10-11 season and I resolved to stop making excuses; though the Tremont/West Side location had me a little concerned, the only "must do" on my schedule for Monday was driving to Pittsburgh at some point before midnight. It was a great event and I encourage anyone who may be interested to stop by for the next one - 10/4 at Uptowne Grill (I think I actually know where this one is... it's East Side, and walking distanceish**** from my house!)

Obviously, having to drive to Pittsburgh limited my alcohol intake to about 3/4 of a drink upon arrival followed by two non-alcoholic beverages over the course of the next two hours. The lack of alcohol didn't diminish the enjoyment: There was a quick verbal blurb from artistic director Michael Bloom on the upcoming season -- perhaps the only time I've ever thought an Artistic Director didn't speak long enough -- but there was ample conversation among the artistically inclined.

Between the din from the fantastic turnout and the conversation--once I finally had to excuse myself (a full half-hour after the official end of the 2-hour Happy Hour, and about an hour and a half longer than I had planned on "trying it out" for) I found that for the first time I can recall, and certainly the first time in my adult life, my voice was hoarse... considering that I didn't 'know' anyone going into it, I'd call that a success (and a welcoming group).

For the record, I consider myself, living in Cleveland Heights, to live on the "Near East Side" and the office in Mayfield Village to be "Far East Side". When the office was in Chesterland, I wasn't sure what to call it. I'm glad we moved. (Most Westsiders I've met recognize Cleveland Heights as East Side but exhibit geographic confusion when presented with Mayfield Village)

Lincoln
* - Full disclosure: I'm in a Pittsburgh suburb tonight, but I'll be back home tomorrow.
** Anything between Ontario and West 25th or so, still relitively comfortable but a little exotic.
*** Anything further than West 25th, where the locals might as well be speaking a different language.
**** 2.5 milesish... I walk past it on a weekly basis, but other people may not consider that "walking distance"