Theater Ninjas: [sic]

Written by Melissa James Gibson, directed by Pandora Robertson. Starring Courtney Nicole Auman, Rachel Lee Kolis, Ryan Lucas, Michael Rosen and Gabriel Razi.

At the 78th Street Studios through March 15.

As the self-described "Food truck of Cleveland Theater," Theater Ninjas presentations are always an interesting blend of story and location. [sic] -- yes, the title of the play is an editorial  notation, is Theater Ninjas' latest production has taken up residence on the airy second floor of the 78th Street Studios for a short run, making for a nice change from the dark and foreboding Masonic Hall that has hosted other recent productions.

The notation [sic], editorially "used in brackets after a copied or quoted word that appears odd or erroneous to show that the word is quoted exactly as it stands in the original". The three apartment dwellers that feature at the center of the show each individually appear odd and erroneous -- Theo (Ryan Lucas), a composer who literally lost his wife and is struggling with a project; Babette (Lee Kolis), an an editor for "obscure subject matter"--and habitually short on cash; and Frank (Gabriel Riazi), studying--of all things--auctioneering.

Those three and the tensions between them and the unseen, but often referenced Larry. Unrequited love, the nature of friendship (there was an awesome quote/question about the nature of friendship buried midway through).

Effective staging -- three apartments defined by simple platforms and a single 2x4 serving as a door for each framed most of the action; a back-lit silhouette on scrim filling in for others... and the oft-mentioned but recently dead Jorgansen and her cats adding a dimension of interest, contribute interest and texture to the industrial canvas in the Studios.

Though examining the nature of friendship and romance, [sic] is imminently compelling, and laugh-out-loud funny, avoiding the obscure and existential in favor of accessibility and relatability.

Lincoln

Cleveland Classical Guitar Society: Ancient Melodies, Modern Echos

Dowland: In Darkness Let Me Dwell
Britten: Songs from the Chinese, Op. 58 Mvts. I and II
Dowland: If my Complaints Could Passions Move
Britten: Songs from the Chinese, Op. 58 Mvts. III and IV
Dowland: All Ye, Whom Love or Fortune
Shaw: Come Again (again)
Dowland: Come Again
Britten: Songs from the Chinese, Op. 58 Mvts. V and VI
Dowland: Shall I Strive With Words to Move
Britten: Nocturnal After John Dowland, Op. 70
(Esteli Gomez, soprano; Colin Davin, guitar. At the Plymouth Congregational Church, Shaker Heights)

Tonight Rachel and I took the short jaunt from my home up Coventry to the Plymouth Congregational Church in Shaker Heights, home to Cleveland Classical Guitar Society's International Series. Tonight's concert was a bit different than the others we've attended in that the evening's guitarist Colin Davin was accompanied by soprano vocalist Estili Gomez.

The arrangement of the program -- interleaving John Dowland (1563-1626) principally with works by Benjamin Britten (1913-1976) and compared with Caroline Shaw's (b. 1982) Come Again (again) certainly gave weight to the program title of Ancient Melodies, Modern Echos.

Opening with In Darkness Let Me Dwell, I was struck by ethereal if melancholy vocals and relatively simple music, and the first two movements from Britten's Songs from the Chinese (The Big Chariot and The Old Lute) contrasted withe a bit lighter mood and, especially The Old Lute a hint of playfulness. While I've had mixed feelings about Britten, I thought it was most interesting listening to tonight's program that from the sounds of the music and lyrics alone I don't know that I could tell you that roughly 350 years separated the two composers.

While neither Rachel nor I had strong reactions to the melancholy if not outright depressed If my Complaints Could Passions Move, the accompanying movements from Britten held my interest -- The Autumn Wind was both lighter in spirit and faster in tempo than the preceding movements; and The Herd Boy seeming to take the guitar technique up a notch. All Ye, Whom Love or Fortune may cement the modern listener's impression that John Dowland suffered from depression -- all of his works, at least all of the works on tonight's program were at best melancholy.

The last piece on the first part of the program, composer Caroline Shaw's Come Again (again) was programmed before the work that it was homaged to and had a number of interesting facets particularly the horizontal playing position for the introduction of the work,  and the use of a tonebar to achieve dramatic changes in pitch and -- I could have sworn -- at one point a flute-like sound.

Following a brief intermission, Dowling's Come Again offered a vocal clarity as well as a sense of hopefulness; Britten's compliments came from Movements V and VI (Depression and Dance Song) which included a sustained vocal and a return to the unusual playing position and use of the tone bar seein in the introduction of Come Again (again)

The program concluded with Britten's Nocturnal after Dowland, completely instrumental with the exception of the last movement and enough sonic textures to satisfy all tastes throughout. I was particularly struck by the sound, about midway through the work, that sounded much like the felt heads of the hammers on a piano striking.

Lincoln

Heights Arts Close Encounters: Mary Lynch - Strings Attached

Britten: Phantasy Quartet for Oboe and Strings, Op. 2^
Mozart:  Oboe Quartet in F Major, K. 370 *
Bolcom: Serenata Notturna (2005) ^*
(All pieces with Mary Lynch, oboe; Joanna Patterson, viola; Tanya Ell. cello. ^- Jung-Min Amy Lee, violin. *-Alicia Koelz, violin).
At the Dunham Tavern Museum, Cleveland.

This evening's concert was an interesting one -- featuring a new artist (Ms. Mary Lynch) playing an instrument that is somewhat rare in the "house concert" (or "close encounters concert") format -- the oboe. Today also started with three readings from Cleveland Heights's Poet Laureate Kathleen Cerveny, believed to be the only muncipal poet laureate in Ohio.

The musical portion of the program was fascinating representing eras as diverse as the late 1700s, early-mid 1900s and the early part of this millennium. Benjamin Britten's Phasntasy Quartet for Oboe and Strings, from 1932, was a single movement that had hints of a Pink Panther-esque "sneaking" along with liberal pizzicato in the strings and a bit of a militaristic march, particularly in Ms. Ell's cello.

Taking a step back in time, the second piece on the program was Mozart's 1781, Oboe Quartet, described by Rachel, with my concurrence, as "light" and "airy". THe third movement (Rondo-Allegro) was particularly spirited and lively, while the first was spirited.

After intermission, Ms. Lynch gave a short but extremely interesting presentation on the art of reed making -- including passing around some samples of completed reeds and the various steps involved, and graciously answering questions from the audience.

The final piece on the program was also the newest -- from 2005, thought described by the composer as "Mozartian Blues" -- and I think had the year not been attached to the piece I would have assumed it was much older. The third movement in particular (Scherzo di medianotte) struck me as a lively discussion between friends.

As always, this concert provided an excellent and intimate opportunity to hear some of Cleveland's tallented musicians preforming works that the musicians themselves selected. (For the sake of completeness, ChamberFext Cleveland's annual benefit was also this evening; were it not for impending travel and Rachel feeling a bit under the weather we would have also attended that concert.)

Lincoln

Cleveland Orchestra: Nikolaj Znaider - Mozart, Mendelssohn, and Elgar

Mozart: Violin Concerto No. 3 in G major, K. 216 (Nikolaj Znaider, violin)

Mendelssohn: Symphony No. 4 ("Italian") in A major, Op. 90

Elgar: Enigma Variations, Op. 36.

Nikolaj Znaider, conductor.

As I prepare to head out of town again, so does -- it seems -- the Cleveland Orchestra, making this my only Cleveland Orchestra concert in the month of February (I can't really complain though -- I'll be spending the next week in the relative warmth of Southern California) 

Opening the program, Nicolaj Znaider both conducted and preformed the solo part of Mozart's Violin Concerto No. 3. Though somewhat unique -- and I'm sure a challenging feat -- the performance came off as effortless and featured a tender second movement (adagio) in a sandwich of energy with the fist movement (allegro) having a more refined feeling with the third movement (rondo: allegro) having a more relaxed energy and some folksy influences.

Mendelssohn's Symphony No. 4 is, or course anchored by an insistent but simple theme and catchy in the first movement, with more of a processional feel in the second movement. 

The final piece on the program were Elgars Enigma Variiations I through XIV -- fourteen variations in the span of a bit more than thirty minutes gave quite the whirlwind tour of sounds and emotions -- from the romantic, to the languid, to the energetic and passionate. 

Lincoln

Dear United Airlines: Please Stop Trying to Kill me. Thank You.

Hey United.

It's me. Lincoln. You may know me as the passenger who spent a bit more than $15,000* with you in 2013, and another $6,000 or so for the first quarter of 2014 on high-yield, full fare tickets. I'm also the guy that believes you've** attempted to kill him at least twice in the past two months with a third "near miss".

Please stop; I rather like living.

I keep meaning to write a letter -- and in fact, have several drafts written -- but I haven't sent it because I keep hoping that I'll have ONE trip pass without incident and I can go "eh, just a fluke" and forget about this. But United's operational reliability keeps getting worse. 

The first incident, United 3466 in November was a bit of excitement when the aircraft abruptly slammed back to the ground after becoming airborne -- that one was announced as a "computer issue" but later I learned it was an air speed sensor failure. That's not something important, is it? Our crew didn't need to know the aircraft's speed for safe flight, did they? And of course one would believe that this kind of critical sensor may be confirmed operational before passengers are boarded, much less hurtling down a runway, right? And it's not unreasonable to expect a supervisor be available after an aircraft is deplaned with a bunch of whip-lashed passengers... oh, apparently, it is.

Then we get to United 3890 -- this time the first week of January. It's not really reassuring when the captain announces "Ladies and gentlemen, in about 10 minutes we will be landing normally, however..." especially when that "however" includes the phrases "no brakes" "bumpy landing" and "lost hydraulic system pressure" and after landing the announcement "do not evacuate" is made. While sitting on an aircraft, on the runway and surrounded by emergency vehicles precious little information was forthcoming -- and it was a little disturbing to hear "Mommy, what's that fireman doing to the wing" from a young child several rows behind me. After we were towed from the runway to the gate -- unable to get there under our own power, and escorted by Aircraft Rescue and Fire Fighting vehicles -- once again, no apologies were offered, no nor was a supervisory representative available.

Though less immediately life-threatening, United 821 earlier this week -- which apparently blew an engine gasket and was leaking fuel "at an unacceptable rate" -- but this wasn't discovered until the aircraft had been fully boarded (and later tests after an unsuccessful repair attempt filled the cabin with the wonderfully pungent and offensive aroma of unburned Jet A fuel). That flight was deplaned and ultimately cancelled. It should be noted that UA821 was the first flight of the day for that aircraft, so I'm somewhat baffled that the fuel issue was not discovered or mitigated prior to passenger boarding. In this case, at least, the excellent (and former Continental) agents and supervisory staff acted quickly to mitigate the inconvenience -- and shuttled me onto a flight departing just a few minutes later.

Those three incidents alone are making me (and no doubt my friends and loved ones) question if the new United has a vendetta against me -- or just inadequate maintenance oversight. I trust you can understand my concern.

But when United isn't dealing with major maintenance/safety issues you're flinging me around space with little regard to aircraft condition or this thing we refer to as a "schedule" -- with dirty aircarft and broken amenities (inflight WiFi would be awesome -- if it worked on more than 25% of the aircraft that have been equipped).

Since the beginning of October 2013, I've flown 34 discreet flights -- virtually all of them have been delayed; in many cases delayed more than an hour. While cancellations and delays are understandable when the weather is poor -- they aren't really explainable on days with beautiful weather nationwide.

But some of United's other recent greatest hits include.

A dog running loose in the cabin: Need I say more?

Loosing An Aircraft: Yep. At Charlotte, a flight was delayed because the employees couldn't locate the airplane. It had supposedly been towed to the gate from an overnight maintenance check. But clearly there was no aircraft at the gate. Not really sure how you misplace an airplane, but you did it.

Loosing my luggage for 3 days of a 4 day trip: I showed up but my luggage didn't. I was promised it would be on the first flight of the next day. Nothing. And agents at the baggage service office told me that no one had been able to get through to the Baggage Resolution Center for three days -- but only the baggage resolution center can authorize reimbursement for expenses. Yeah. I'm eating the cost for clothing for the 2nd (and 3rd) days of a meeting on top of a $1200 ticket. (A supervisor ultimately authorized the expenses, but I'm not hopeful I'll see a reimbursement anytime soon)

Blaming Me for United's Poor Planning: Oh, you missed your connection because we didn't have anyone to drive the jetway for 20 minutes? Well, that's the FAA's fault because we don't control the jetways (unadulterated BS) and its [my] fault for not having a longer connection (even though it was offered, sold, and booked by United and exceeded United's published minimum connection time).

I could go on -- and honestly, I'm wondering why I continue giving United my business. I guess I'm just honestly hoping it gets better. I long for the days of Continental Airlines -- courteous, helpful staff, a "do right by the flyer" attitude, excellent on time completion rates, clean, modern, and comfortable aircraft. And I can't think of the last time my luggage failed to arrive promptly. I was hopeful that with Continental policies, senior management, and systems migrating to the old United. Sadly that seems to not be the case.

Rachel and I have a trip to London to celebrate our 3rd anniversary booked on United in March. I am hopeful but not expectant that it will be without incident.

/Sigh.

Lincoln
(Of course, the above is entirely my own opinion and impression, and does not proport to be the opinion of my employer, or anyone else.)
* - Roughly 40 cents per flown mile. Based on United's latest Form 8K filed with the SEC, it appears the average is about 13 cents per mile
** - Including flights operated by United and under United's direction as United Express.

Cleveland Orchestra: Franz Welser-Most Conducts Mozart, Wndmann, and Beethoven

Mozart: Symphony No. 38 ("Prague") in D major, K.504
Widmann: Teufel Amor; Symphonic Hymn after Schiller
Beethoven: Piano Concerto No. 4 in G major, Op 58 (Yefim, Bronfmam, piano)
Franz Welser-Most, conductor. 

Tonight's concert was an interesting concert -- no doubt in part due to the orchestra's impending flight south for the winter. Likewise, it was interesting comparing my seat for this week's concert, at virtually dead center, versus last weeks house left experience -- but with that centrism comes a small loss of intimacy with the musicians; I don't think the difference was that significant.

Mozart's Symphony 38 ("Prague") bad a delightful beginning to the concert but seemed as if it were being treated a bit too delicately by Mr. Welser-Most, particularly the first movement which had festive undertones but seemed more a wallflower than a willing participant in the goings on. The second movement was likewise measured and delicate but smoothly flowing, reminding me in some places of the precision of a ballet and the third movement was a dignified frenzy that was enjoyable but passed on the ballet ambiance from the second movement.


For the 25 minutes of enjoyment the Mozart brought, Jorg Widmann's Teufel Amor was 30 minutes of musical agony. Sounding like a lumbering swamp creature that just would not die while lumbering around an entirely atonal environment, it could not have been over fast enough. While I am not a fan of Mr. Widmann (and quite frankly wish the orchestra would stop programming his works and perhaps try another young composer) his other pieces at least have the advantage of being relatively short minimizing the suffering inflicted upon the paying audience.

Following intermission, certainly the most enjoyable piece on the program was Yefim Bronfman's interpretation of  Beethoven's Piano Concerto No. 4... From a 35 minute piece, the first movement was the meatiest at about 20 minutes, and may be best described as the evolution of a romantic relationship between piano and orchestra -- from the tentative and restrained words of a first date to the more comfortable later stages to completing each others thoughts. The later movements were a bit more passionate and empotional outbursts.

Lincoln

Cleveland Orchestra: Franz Welser-Most and Julia Fischer: Brahms Violin Concerto and Symphony No. 2

Brahms: Tragic Overture, Op. 81
Brahms: Violin Concerto in D major, Op. 77 (Julia Fischer, violin)
???: 3rd movement from Sonata in G (Julia Fischer, solo violin)(Encore)
Brahms: Symphony No. 2 in D major, Op. 73
Franz Welser-Most, Conductor.


Despite United Airlines best attempts to both kill me and leave me naked over the past two weeks -- long story -- my clothing and I survived. And I  made it into Severance Hall for a delightful concert, although slightly under the weather from a bug I no doubt acquired at one of the airports I passed through.


My seat for this evening was in the front of  Box 19 -- much further "house left" from my usual perch, and given the horseshoe design of Severance Hall, also much closer to the stage then I believe I've been in a very long time. While in was concerned this would affect the acoustical balance, that effect was barely noticeable. What was noticeable was the incredible intimacy one has with the orchestra -- peering over the violinists shoulders -- if you will.


This angle provided a bit more immersion -- and with it a heightened sense of the minute details that come together to make for a delightful concert.


Ms. Fisher's performance of Brahm's violin concerto was technically excellent, but the first movement was somewhat lacking in the "passion" department -- and passion is what makes the Cleveland orchestra so compelling -- this recovered, however, by the third movement and with a festive, gipsy-ish flare that I find hard to resist.


Leaving the hall, it seemed like the question on everyone's mind was "who was the composer for the encore?" -- no one (including yours truly) had an answer better than "It started with a P", but that didn't dampen its reception -- and time seemed to stand still while she was playing.


While I am wary of "all the same composer" programs -- and I need not hear any more Brahms for a while -- the program concluded with a captivating performance of his Symphony No. 2 with a variety of orchestral colors and flavors -- from the bold introduction and tender ending of the first movement and irresistible sentimentality of the cellos in the second movement, to the pastoral colors giving way to drama of the third movement, and finally the festivities lurking amongst the fourth movement.




Lincoln