The Green Room

Your Donations At Work

2012-01-31T10:00:00.000-06:00

The Theater Season wouldn't be the same without the support of many of you who contribute to the Wisconsin Union Theater Program Endowment each year. You may give by "rounding up" your Season ticket order, clicking on the "donate" button on our website, or responding to the Wisconsin Union's annual campaign. Whichever path you choose, your generosity is noticed and appreciated.

Thanks to these donations, the Wisconsin Union Theater never has to compromise on the quality of our programs or on the ability to keep them accessible to our next generation of arts lovers. Endowment funds allow us to keep ticket prices at an affordable $10 for all UW-Madison students.

In the Fall of 2011, for example, endowment funds kicked in $37,327 to support Theater Season events by subsidizing the difference between the student-priced tickets and the general public tickets.

Contributed income makes up approximately 30% of the Theater Season's annual budget, and endowment support provides the lion's share of that contributed income. This support is what allows us to take a chance on a rising star artist or invite a celebrated veteran performer to return to our stage. It allows us to think beyond "butts in seats."

This wouldn't be possible without countless donations, big and small, from people who value what we do and show their support. Whether it's $5 or $500, it all goes towards making the Wisconsin Union Theater a more vibrant and forward-thinking organization.

If you're one of our generous contributors: Thank you! If you'd like to join the effort, please go to Wisconsin Union Theater Program Endowment to make a donation.

Killer Spring Semester

2012-01-31T09:08:00.002-06:00

by Shawn Werner

WUD Performing Arts Committee Director

With the Spring semester right around the corner, we're wrapping up a very successful Fall semester of events. The Special Events Series looks to kick off next semester with a bang!

The awesome Bela Fleck and the Flecktones are rockin' out on our stage on March 1, the one and only Comedy Central's Gabriel Iglesias will be sure to make the whole house laugh on March 3, the annual Marcia Legere Play Festival will be held on March 10 and 11, Pilobolus is dancing on April 14, followed by the Neale-Silva Young Artist Competition on April 29, and Leahy, an awesome Canadian powerhouse of dancing and music making, will be here on May 4.

Apart from Gabriel Iglesias's show, I'm extremely excited to see Bela Fleck and the Flecktones - in their original form, just like old times! Seeing that they haven't played together for a good 20 years, their sound is bound to be more mature, richer, and just plain old better. Get excited, people! If you haven't purchased your tickets yet, I advise to do so soon!

Bela Fleck and the Flecktones:

Bela Fleck and the Flecktones are definitely one of the apexes of our spring semester, and I can't wait; it'll be so much fun! They just released a new album, Rocket Science. Check out one of the new songs here:

Gabriel Iglesias is one EXTREMELY FUNNY comedian! "Hot and Fluffy" was definitely one of the most hilarious stand-ups I've ever watched. It's one of those you-can-watch-it-every-day-and-never-get-tired-of-it stand-ups. What I find most interesting is that all of the stories he tells are actually true events that happened in his life. For example, he tells this bit about how he bought a VW Beetle and, one day, he drove to his friend's house to pick him up and--well, you'll just have to watch it yourself. This dude is gonna kill this show! You won't want to miss it!

Leahy is an awesome mix of musicians and dancers composed (ha! Get it?!) of brothers and sisters from Lakefield, Ontario, who perform an eclectic mix of music choreographed with dance. Their repertoire ranges from Cape Breton to Quebecois and Celtic to good ol' folk performances. Their music is quite virtuosic (it's a word, I promise) filled with rhythmic complexities and melodic heterophony (again, it's a word, I promise). These two elements combined pretty much create an urge to dance and they do exactly that. Check out their piece "B Minor."

They'll certainly bring an explosive presence to the stage and you'll for sure want to be a part of that experience!

So there you have it, the three powerhouse special events happening next semester that will guarantee your satisfaction!

Peace,

Shawn

He's just darn funny

2012-01-30T22:52:00.004-06:00

by Elana Siegel
Marketing and Communications Intern

I started my love affair with stand-up comedy when I saw Robin Williams perform his interview on Inside the Actor's Studio with James Lipton. Startled out of the calm stupor leaning on sleepiness that normally results from James Lipton's voice and endless stack of blue notecards, I watched Robin Williams command the stage, creating and inventing from what seemed like nothing.

From there I explored Ricky Gervais, stand-up comedian and creator of The Office, Comedy Central's Aziz Anzari, and some of the early Steve Martin.

And then I found Gabriel Iglesias, the Comedy Central and Last Comic Standing comedian.

My first version of this blog article featured me trying to explain what it is about Gabriel that drew me in to his comedy - he wears Hawaiian shirts, he creates characters on stage, he mixes in ideas about immigration and racism. But here's what I realized about Gabriel: he's just darn funny.

In his approachable manner, he invites you to laugh along with him. He posts all of his YouTube videos with a personal note. He invites his audience members to interact with him. In this video, he personally introduces his mother.

I'm hoping that when Gabriel stops by the theater on Saturday, March 3rd at 8pm, I'll get a chance to speak with him. I know that he'll make me laugh.

Picking Tickets, Spring 2012

2012-01-30T22:07:00.003-06:00

Our friend and former Isthmus writer Susan Kepecs writes "Cultural Oyster," a blog that covers performing arts in the Madison Area. Read her spring picks from our theater, below. The full article can be found here.

"The Village Vanguard Jazz Orchestra (Wisconsin Union Theater, Feb. 4) – the very sophisticated Monday night house band at Manhattan’s eponymous West Village club – has always played honest-to-god jazz. This big band, with its 15 heavy-hitting players, was born in ’66 of the fortuitous collaboration between two forward-looking orchestral jazz giants: trumpeter and composer / arranger Thad Jones, who’d been a soloist with swing king Count Basie, and drummer Mel Lewis, who honed his chops in Stan Kenton’s jazz orchestra. The VJO brought big band jazz straight into the postbop epoch, and despite huge changes in the times and personnel, it’s still true to its own brand of big band swing.

The wacky, whip-smart, genre-busting jazz fusion band Bela Fleck and the Flecktones stops in Mad City (Union Theater, March 1) on its much-touted reunion tour. Banjo master Fleck and the Wooten brothers (“Futureman,” inventor of the drumitar, and virtuoso bassist Victor) have been together since the band’s very first gig on PBS in 1988, but this is the first time they’ve played with pianist / harmonicist Howard Levy since 1992. There’s a new album, Rocket Science (E1 Records, 2011), to go with the tour, though the promo lit implies the band’ll mix new tunes with hits from the three albums they made before Levy split.

Nigerian saxophonist / vocalist Seun Kuti and his high-energy brass and percussion rich big band Egypt 80 (Wisconsin Union Theater, April 12) blew the roof off the WUT on their US debut tour in June, 2007. Kuti told me in an interview then that he’s not as wild as his father, Fela Anikulapo Kuti, the late, legendary king of Afrobeat and revolutionary politics. Maybe not, but like Fela, Seun is the consummate activist, taking the stage in support of myriad African causes. This month he's been in the midst of the Occupy Nigeria movement, performing his take-no-prisoners political songs onstage in Lagos during mass protests against the end of the fuel subsidies that help keep prices down for the underpaid masses – President Goodluck Jonathan’s concession to deregulation demanded by the IMF. A week into the protests Jonathan restored part of the subsidy, but count on Kuti to keep up the good fight. I saved the best – my personal favorite – for last. When the going gets tough, as it will when state GOP challenges to the Recall signatures plus all those right wing corporate-funded ads aimed at the national presidential race heat up, we get the orishas’ blessings, right on time.

Straight from Havana, Sierra Maestra – the group that rescued Cuban son from the dustbins of prerevolutionary history in the 1970s and has carried la musica forward ever since – plays Memorial Union’s Great Hall on March 23. I’m listening to their latest CD, Sonando Ya (2010, SASA Music), right now. It takes me to my happy place, despite the freezing fog outside. Yo soy sonera de corazón – I live to dance to Cuban son. You will, too. Aché."

Gaelic Storm: More than Just a St. Patrick's Day Festivity

2012-01-30T14:01:00.000-06:00

by catherine Harris
World Stage Coordinator

On February 17, Gaelic Storm returns to the Union Theater, after giving a thrilling performance last year to a nearly sold out house of loyal fans. Hearing Gaelic Storm at the Union Theater last year was my first encounter with Irish music. At the time I didn't know anything about the band, or the cultural traditions and history behind the music, but I knew I liked it.

To me, Irish music was only something heard once a year, cornily humming out of the speakers at a parade or a bar on St. Patrick's Day, accompanied by all of the four leaf clover and green regalia associated with the day. Gaelic Storm, however, is much more than just a fiddle reeling off notes with a person dressed as the infamous leprechaun. Gaelic Storm is an experience that authentically represents both traditional Celtic music and Irish culture.

The band is traditional in the sense that the members play traditional instruments characteristic of the region, and they always incorporate old popular folk tunes which are undoubtedly recognizable to Irish people around the world. In addition to being rooted in the history and traditions of the culture, as seen in songs like, Tell Me Ma off their first album, their music at times has elements of fusion with rock or pop. Most of the songs they perform are original compositions that incorporate well known tunes. They offer a very high-energy performance, complete with driving beats and occasional dancing, all while staying very grounded and connected to their fans.

I'm excited to see them again and am especially looking forward to this performance because it is going to feature songs off of their newest album, Cabbage. I hope to see you there!

Finckel, Han and Setzer play Mendelssohn

2012-01-26T15:39:00.000-06:00

by Lindsay Hanson

Concert Series Coordinator

One of my favorite things about working at the Union Theater is that I get the chance to listen to lots of recordings. Just the other day, I received the new release by David Finckel, Wu Han and Philip Setzer of Mendelssohn's Piano Trios.

How exciting to get to preview part of the program the trio will present here next month! Along with the two piano trios from the recording, Finckel and Han will also perform the Sonata for Cello and Piano in D major, op. 58 on their program at the Union Theater on Friday, February 24, at 7:30pm.

As a performer and arts administrator myself, I am inspired by Finckel and Han's commitment to our art form. Besides being great musicians and educators, the duo also founded Music@ Menlo, a summer chamber music festival, and serve as artistic directors for The Chamber Music Society of Lincoln Center in New York City. The Mendelssohn recording I received today is a product of their own recording label, ArtistLed Records, which they founded in 1997 as classical music's first musician-directed and internet based recording label. Their entrepreneurial spirit is something I really admire. Their artistic merit was recognized this year by Musical America, who named Finckel and Han Musicians of the Year, the first duo ever to receive this honor. For the recital here in Madison, Finckel and Han are joined by the famous Philip Setzer of the Emerson String Quartet.

I love playing chamber music. Obviously, Finckel, Han and Setzer do too. In listening to their new release, I am captivated by their sound. There is something special about their musical unity. The trio sounds as one instrument. My favorite parts of the recording are when the violin and cello play in octaves together. The sound just RINGS!

You can hear this outstanding trio LIVE in just a few short weeks. Order your tickets today while there are still great seats available! I'll keep listening to the musical treat I received in my mailbox in the meantime, and I'll look forward to seeing you at the concert. Believe me, if this recording is any indication, the trio's live performance will be one not to miss.

David Finckel Discusses the All-Mendelssohn Program He, Wu Han and Philip Setzer Will Play in the Theater

2012-01-25T13:58:00.002-06:00

David Finckel, Wu Han and Philip Setzer will be playing an all-Mendelssohn program when they come to the theater on Friday, February 24, 7:30 pm. Jacob Stockinger, who blogs at "The Well-Tempered Ear," interviewed Finckel and Han. The full interview will be available on his blog next week. In the meantime, here's a teaser, Finckel's explanation of the program choice.

Ear: Why did you choose an all-Mendelssohn program? Could you give a short introduction to each piece you will play and what you think its importance is or what the audience should listen for?

David Finckel: Mendelssohn was not only one of the most skilled and devoted musicians of all time, but his music appeals to a broad spectrum of the public, from those who are musical experts to new listeners. His ingenious voice well deserves an entire evening's attention.

The Trio in D Minor, Mendelssohn's first, shows him in a stormy mood for its outer movements, and offers both a song without words and “A Midsummer Night's Dream” experience in its middle movements. There’s something for everyone in this trio.

The Trio in C Minor is a more advanced work in terms of its

structure, with a final movement that contains extraordinary

innovations. Listen for the quiet introducing of a hymn within a

folk-inspired movement, and follow its progress toward the conclusion where both ideas are reconciled. It is one of the most magical creations in all of chamber music.

The Sonata for Cello and Piano in D Major is one of Mendelssohn's most exuberant works. Giving the lion's share of notes to the piano, the composer nevertheless affords the cello all the main themes and uses the instrument's signature lyrical strengths to the fullest. It's an absolute joy to play from start to finish.

Béla Fleck and the Flecktones Reunite!

2012-01-24T21:45:00.000-06:00

Erin Bannen
Marketing Intern

While I was running a booth for the Wisconsin Union Theater at La Fete de Marquette last summer, I tried to guess which of our events people would be most excited by. I was predicting Pilobolus, which was certainly met with enthusiasm, but after three hours of random Madisonians seeing my billboard and squealing, "Béla Fleck and the Flecktones? Oh they are just FANTASTIC. When are they playing?!?!?" I realized that this demographic had something in it that I had not expected.

People reacted to the news of this group performing in the same way they would if they found out their favorite discontinued ice cream flavor, the only ice cream flavor they had ever really loved, was coming back for one weekend only. Who are these guys? I thought. And why is everyone in Madison so excited about them?

Wooten with his Drumitar

You know how they say a band has a sound so unique that you won't hear it anywhere else on earth? For Béla Fleck and the Flecktones, it's actually true. Calling the band genre-busting doesn't even begin to cut it. Their latest album, for example, goes from classical and jazz to bluegrass and African to electric blues and Eastern European folk dances. Roy “Futureman” Wooten literally invented a new instrument, the drumitar, which, though in the shape of a guitar, can replicate sounds of an entire contemporary drum kit. Howard Levy developed a fully chromatic style on the standard 10 - hole diatonic harmonica, revolutionizing harmonica playing and taking the instrument into totally new territory. Béla himself, considered the premier banjo player in the world, has been breaking banjo genres since he was 16 (see his full bio for more specifics).

So that's two newly invented instruments played by the guys that invented them, and the world's most famous innovator on the banjo. If there is anything those Madisonians taught me at that fair, it is that there is no way I am missing a chance to hear this sound.

Below is an opportunity for you to hear from the band members themselves about the experience of coming back together to play with their original line-up, just for this one album and one tour. BTW, about a half of the house is already sold out. I recommend that you buy your tickets soon.

The Vanguard Jazz Orchestra's Outstanding Line-up

2012-01-24T11:54:00.001-06:00

by Ben Ferris
Isthmus Jazz Series Coordinator

On February 4th, some top New York city musicians will be performing at the Wisconsin Union Theater as part of the Vanguard Jazz Orchestra. I was recently sent the line-up of who will be on this tour, and there are some very exciting musicians indeed. it's been a long time since Madison had so many outstanding musicians share one stage. I can hardly contain my excitement and anticipation.

While I impatiently await this concert, let me share with you who these musicians are.

Saxophones:
Billy Drewes, on alto, soprano and flute, is a New York native whose discography includes over 150 CDs. Drewes has performed or recorded with Herbie Hancock, Lionel Hampton, Bill Frisell, Eddie Palmieri and many more and is adjunct faculty at NYU.

Also on alto, soprano and flute is Andy Fusco, whose career started with the Buddy Rich Big Band. He has also toured with Gerry Mulligan and Mel Lewis and has recorded a number of albums as leader and soloist for Criss Cross Records.

Rich Perry, on tenor and flute, joined the Thad Jones/Mel Lewis Orchestra (which later became the Vanguard Jazz Orchestra) in 1977. Recording extensively for Steeple Chase records, Perry has featured many fantastic musicians, such as George Mraz, Fred Hersch and Billy Hart.

On tenor and clarinet is Ralph LaLama, who was also a member of the Thad Jones/Mel Lewis Orchestra before the two leaders left the band. LaLama has recorded and performed with a number of great musicians, including Clara Bley, Barry Harris, James Moody, Joe Morello and many more. His 1997 CD as leader, "Circle Line", received 4.5/5 stars from Downbeat Magazine. Below is a video "Hot House," performed by Joe Lovano's Nonet live in Paris, in which LaLama is the 4th featured soloist (on Tenor Sax at 5:30).

Frank Basile, on baritone, is one of the most in-demand baritone saxophone players in New York City. Basile has played with the Dizzy Gillespie All-Star Big Band, the Dave Holland Big Band, the Bob Mintzer Big Band, The Jon Faddis Jazz Orchestra, and many others as well as leading his own regularly performing quintet.

Trombones:

John Mosca

John Mosca is the artistic director of the Vanguard Jazz Orchestra, and has been playing with the band for more than thirty years. He has also been on the faculty at the Manhattan School of Music, The New England Conservatory, and The University of Connecticut, among others. Mosca often plays at Smalls Jazz Club in Greenwich Village where he has also recorded.

2010 Downbeat Critics Poll winner for "Trombone, Rising Star" is VJO member Luis Bonilla. Bonilla recently released an album as leader titled "Twilight" which gets a great review at allaboutjazz.com. In addition to his solo efforts, Bonilla has been a sideman with McCoy Tyner, Dizzy Gillespie, Lester Bowie, Tom Harrell, Freddie Hubbard and many more.

Larry Farrell plays with the Manhattan Jazz Quintet, Manhattan Jazz Orchestra and a group called Super Trombones. He has also recorded with Johnny Cash, Elton John, Maria Schneider, and Canadian Brass.

On bass trombone is Jeff Nelson, who is featured on the album "A Matter of Time" by the New York Trombone Conspiracy. I encourage you to check him out in the video of the group playing Nelson's arrangement of Monk's "I Mean You". Nelson is the second soloist at 4:15.

Trumpets/Flugelhorns:
The New York times proclaims VJO Trumpeter Tanya Darby "…a virtuoso with remarkable control and power…who shows that though Miles Davis died in 1991, his unbounded soul will inspire for years to come." Darby's career began early on with her great success at the age of 12 in the Monterey Jazz Festival, and she has played with an extensive list of fantastic musicians, including Jon Faddis, Frank Foster, Dianne Reeves, Ramsey Lewis, and Clark Terry. Check her out on this video from the 25th anniversary of Arista Records with Aretha Franklin:

Alan Quinn has played in many different broadway shows, as well Michael Brecker, Randy Brecker, and Jimmy Heath. This is his ninth year with the VJO.Quinn's band, the Alan Quinn Orchestra, has played at many famous New York clubs, such as the Radio City Music Hall and the Rainbow Room.

Joe Magnarelli has released nine CDs as a leader, the most recent is called "My Old Flame" and features strings orchestrated by Marty Sheller.

Also on trumpet is Richie Vitale. In addition to playing in the VJO, Vitale has also played in the Buddy Rich Big Band, the Count Basie Orchestra, and the Duke Ellington orchestra. Vitale leads a twelve piece salsa band called Orquesta Universal, featuring twice Grammy nominated Cuban born singer David Oquendo

Michael Weiss with Horace Silver

Rhythm:
Named by the New Yorker as "...one of the most dependable pianists on the scene", VJO pianist Michael Weiss will be an exciting part of the band to listen in on. His first CD, "Presenting Michael Weiss," was awarded Jazz Pick of the Year on National Public Radio's Morning Edition, and he has recorded or performed with a number of great musicians, including Jon Hendricks, Al Foster and Frank Wess. Weiss is also known for his compositions, and won the Thelonious Monk Institute's Composer's Competition in 2000.

Mike Karn, bassist for the VJO, is a faculty member at the New School for Jazz and Contemporary Music in New York City and has performed with Ray Charles, Jimmy Cobb, Charles Earland, Junior Mance, Charli Persip, Irene Reid, Valery Ponamarev, and Andy Bey.

Manhattan School of Music professor John Riley will be playing drums for VJO. Riley has played with many great musicians, including Woody Herman, Milt Jackson, Miles Davis, and John Patitucci, and is the author of The Art of Bop Drumming, Beyond Bop Drumming, The Jazz Drummer's Workshop.Below is a video of him as featured in the Modern Drummer Festival last year.

There's one additional perk: Manhattans are the featured drink for Saturday's performance: Canadian Whiskey, sweet vermouth, bitters and a cherry garnish. $6.50 per cocktail. Yum! I hope that you can make it to see all of these great musicians perform together in the Vanguard Jazz Orchestra on Feb. 4th!

Let the photos do the talking

2012-01-23T10:16:00.001-06:00

I'm kind of a photo-holic. It's gotten to the point where I bought an external hard drive just to house all of my photos. And then a second hard drive to back up the first one. Normally, my photo-taking is just tolerated as a quirk. But since returning from study abroad in Lima, Peru, my photo-taking habit has been entirely vindicated.

After commenting on how tan I am (if I do say so myself!), people here in the States, in their well-intentioned interest to learn more about what I did while in South America, ask the question. "So," people say, "tell me about Peru." And I really have no answer. How do I sum up five months of study and travel into an elevator sound bite? It's almost as impossible as the Badgers going to the Rose Bowl two years in a row and losing both times (oh wait, that actually happened). But as hard as it is to explain, I do want to tell stories and share my experiences. So I often just show my photos and let them do the talking. The system works well, except that I can never pick what photos to show, especially considering that I returned from South America with approximately 2,000 photos to choose from! I've tried to narrow it down for you all, so here is a small(ish) selection of photos from my study abroad.

If you're looking for more, during the semester, I did keep a personal blog with written stories, reflections, and descriptions of my adventures as well as more photos.

I started the semester studying at a Peruvian university in Lima.

The skyline of Lima

A corner market in a poor area in Lima

Gastronomy is one of the prides of Peru. Here is ceviche, the most famous national dish.

During the semester, I traveled around Peru and Ecuador on short weekend trips. I went to the Andes:

A valley at the foot of the Andes

The highest point we crossed in the Andes - 4,750 meters

The northern beaches and fishing towns:

Fishing and tourism are the major industries in the northern coast region

A young boy watches as a motor taxi passes by

The Amazon river and jungle:

Turtles for sale in a city market

The port city of Iquitos

A cove from an offshoot of the Amazon River

After the semester, I went backpacking for a month around southern Peru and Bolivia.

We started at Machu Picchu:

The view from Huayna Pichu

Headed south to Lake Titicaca:

One of the "floating islands"

Passed into La Paz, Bolivia:

A view from the colonial section of La Paz

Traveled through the western desert of Bolivia:

Salt plains

Bolivian desert plants

Flamingos eating in a lake surrounded by sulfur

The "colored" lagoons

And finished by trekking through the Cotahuasi Canyon, the deepest canyon in the world:

The deepest point in the Cotahuasi

Since returning to the states, I have experienced a huge reverse culture shock. Prices are higher, and there is snow on the ground. Buildings are cleaner, skin is paler, and internet is easily accesible. The bus system uses a schedule. People eat on the go. If these first two weeks are any indication, it will take me quite a while to re-adjust to the States. But I'm not worried, because I know what will help me to reflect on the transition: I'll just take some pictures along the way.

Mollie Eileen Buckley, Former Theater Membership Director, Passes Away

2011-12-27T13:22:00.000-06:00

Mollie E. Buckley

PRAIRIE DU SAC--Mollie Eileen Buckley, 72, Prairie du Sac, Wisconsin, passed away on Sunday, November 13, 2011 at The Pines in Prairie du Sac. She was born November 30, 1938, in Kokomo, Indiana. Following her high school graduation in 1956, she worked at the Kokomo Tribune as editor of the TV-radio weekly section, which ultimately led to her move to Madison to attend the University of Wisconsin-Madison where she majored in journalism. At the UW, she served as the editor of the Badger yearbook. She graduated in 1961 with a bachelor’s degree in journalism.

Mollie spent most of her adult life in Madison, where she held various positions including Public Information and Membership Director, The Madison Arts Center; Director of Public Information, UW Center Systems; and Publicity Director, Wisconsin Union Theater and Wisconsin Union Membership Director. In 1984, she joined the UW Foundation staff as director of communications and in 2001 was named a vice president.
A stroke forced an early retirement in 2002, but it did not dampen her spirit or enthusiasm for the university and for the football and basketball teams. She was a loyal supporter of the university and was a member of the Foundation’s Bascom Hill Society. She also was active in Women in Communications for many years, serving as vice president for the national organization. In 2002, The Mollie E. Buckley Scholarship Fund in Journalism was established with gifts from co-workers, colleagues and friends to recognize and honor her 40-year career in communications.

Mollie is survived by three sisters, Nellie Rusk, Monica (Mike) Fewell and Patricia (Bob) English, five nephews; her close friend and caretaker for many years, Judy Ashford; and many friends and colleagues in the Madison area. In addition to her parents, she was preceded in death by one brother-in-law.
A celebration of Mollie’s life will be held by friends, colleagues and family at a later date. Family graveside services will be held Friday, November 18 in Kokomo. Memorial contributions may be made to the University of Wisconsin Foundation, US Bank Lock Box, P.O. Box 78807, Milwaukee, WI 53278-0807, with a notation on the check stating in memory of Mollie Buckley.

Great History - The Village Vanguard Jazz Orchestra

2011-12-19T19:35:00.008-06:00

Ben Ferris
Isthmus Jazz Series Coordinator

With all of the great history being highlighted at the Union Theater this year, I thought it would be good to highlight the great history of the upcoming Union Theater Isthmus Jazz Series performers - the Village Vanguard Jazz Orchestra.

In 1965, Thad Jones (trumpeter and composer from the Count Basie Band) teamed up with drummer Mel Lewis (drummer for Stan Kenton) to form the Thad Jones/Mel Lewis Orchestra. This group recorded many influential big band albums, including my personal favorite, "Consummation". The group also recorded a fantastic album with vocalist Joe Williams called "Presenting Joe Williams" which I would recommend to anyone. The band was made up of some of the top musicians of the time, and at some point in time included trumpeters Cecil Bridgewater, Jon Faddis and Snooky Young; trombonists Jimmy Knepper and Eddie Bert; Saxophonists Jerome Richardson, Eddie Daniels, and Joe Lovano; pianists Roland Hanna and Hank Jones; and bassist Richard Davis (who is currently a UW professor).

After the deaths of both of the band's formers and arrangers, the group took the new name "The Vanguard Jazz Orchestra" to honor the place where the group has gotten, and continues to get together on Monday nights since 1966. Keeping with the clubs name, the music is always leading the way in new developments and ideas of big band music. The group is still made up of some of the top musicians of the time, which I will highlight in a later blog entry.

I hope you can make it to this performance - don't forget: the UW Jazz Orchestra will be opening, featuring music from the original Thad Jones/Mel Lewis Orchestra, and student compositions.

Why Gaelic Storm is so Easy to Love

2011-12-17T10:51:00.002-06:00

Erin Bannen
Marketing Intern

Gaelic Storm's Tree is one of those albums that has followed me for about 10 years. When I was 12 I stealthily stole the tape (TAPE!) from my older sister's music collection. I remember waiting until I was home alone and then trying to Irish dance to Beggar Man in my basement. Then I sprained my ankle; I can't Irish Dance.

It was the album I played in high school when I was restless and decided the only thing to do was to completely re-decorate my room. I'd get to the last song on the album, Walk Through My Door and try to convince myself that I was NOT plastering my walls with Slipknot posters because Zach Martin hadn't asked me out. Nope. Not at all.

When I turned 17 and realized that Catholicism and me could be friendly but not friends, Mary's Eyes became a song that made a kind of cold religious figure into a human being for me.

When I was 22 and studying abroad in London the album effectively saved me from killing my roommate. She snored. Like a tanker truck. And I listened to Before the Night is Over on repeat to keep from punching a hole through the wall.

So Tree came out in 2011, and I have fanatically bought every album Gaelic Storm produced since then. They're all fantastic. But I'm writing about one of their first albums to show that this is a band with the kind of versatility that can follow a person through 12 formative years of her life. So if you choose to see these guys at the Wisconsin Union Theater on February 17th, don't be surprised if you can't get the songs out of your head for 10 years.

Gabriel Iglesias: Hilariously Fluffy

2011-12-16T14:58:00.000-06:00

Alexis Brown
Marketing Intern

I spent the summer after my senior year of high school watching a lot of tv. This was when I was still living at home, and the cost of cable was still a merciful mystery to me. It was summer, and I refused to relinquish my mind to the ravages of college until I had absorbed every bit of trashy sitcom and talk show possible. Every now and then, my remote would wander over to comedy central. Usually they would have some crude and unwatchable comic on, plugging away his half-hearted jokes to an inebriated audience.

But one night I came across Gabriel Iglesias—otherwise known as Mr. Fluffy. Now I’m no comedy aficionado—not by any means—but this guy was funny. He had these freakishly accurate impressions—I mean, when he was trying to sound like a car, or a drive through speaker—he sounded like it. There was no question.

I think what I liked most, though, was his self-deprecating sense of humor—Gabriel wasn’t afraid to admit that he had something of a rotund mid-section, and he went a step further to turn it into a laughing point for everyone. Whether he was comparing his girlfriend’s whisper of “chocolate cake” to phone sex, or joking about how little movement it took him to work up a sweat at a dance club, I found myself chuckling.

So it doesn’t surprise me that his show is selling more rapidly than most, even though we’ve barely done any advertising. A comic like Gabriel has a reputation that precedes him. You can find out for yourself March 3rd, but only if you move fast—Gabriel may not be much of a runner himself, but his tickets are flying.

'Color By Numbers' Spotlights Student Shows

2011-12-15T18:00:00.000-06:00

by Ted Harks
Campus Arts Ticketing System Manager

Month after month we proudly speak of our student-produced Wisconsin Union Theater season of events. But another equally important piece of our history is the wealth and variety of events that registered student organizations stage in the Wisconsin Union Theater and Fredric March Play Circle.

In this edition of 'Color By Numbers', I wanted to highlight for you the amazing diversity of groups and abundant variety of events they create themselves and produce with us in these two special spaces. The graphic offers a snapshot which spans the past 15 months of groups we've hosted and the types of events they've brought to life on our stages. Some events are ticketed. Some are free to the public. All meet our ongoing mission to provide labs of artistic experimentation and learning for students during their times on campus.

I like the slogan that we use to describe the Wisconsin Union Theater: "where the greats come to play." We mean that in the literal sense; the world's greatest artists play for audiences in our theater each year. But we also mean it in a wondrous, adventurous sense. Our theaters are places to play, to have fun creating, performing and sharing, for professionals and students alike. Opportunities provided to students are at the very core of our mission and will continue to be in our renovated spaces. Consider with us all that students have produced and will yet produce before we begin renovations. And imagine with us what new events they will create when we return. Who of them will become great? Are you as excited as we are of the possibilities?

Looking Forward to Great Shows

2011-12-15T14:52:00.000-06:00

Catherine Harris
World Stage Coordinator

Wow, it's hard to believe that the semester is almost over! It seems like just yesterday we were busy preparing for the first show on the World Stage Series--Yamato--on October 27. Now that we've been through the first couple of shows in this year's program, including the historic, very first ever show in The Sett put on by the Performing Arts Committee, it's time to start getting ready for the many events in the upcoming spring semester.

The Sett

Other than looking forward to winter being over (already, even though it hasn't really even yet begun), I'm excited for the first concert back from break, The Village Vanguard Jazz Orchestra. Keep your eyes peeled for an upcoming blog entry by the Isthmus Jazz Series Associate Director, Ben Ferris, about the amazing history of this world renowned group.

Another concert I am definitely going to be sure not to miss is Bela Fleck and the Flecktones on March 1 in the Union Theater. This concert is also going to be historic in that it is the first time in 20 years that the original Flecktones, (including none other than Howard Levy, bass god Victor Wooten, the all around amazing Future Man, and the banjo man himself, Bela Fleck) will be touring! They just released a new album called Rock-Et Science, which blends the sounds of their old albums with the trademark boundary-pushing and craziness that everyone of the band members exhibits in their approach to their respective instruments. Do note: they reunited for this one tour and one album. This is a historic opportunity to see them. It's not likely to happen again.

Lastly, what I am totally most excited for, above all else for the spring, is the arrival of Seun Kuti with his father's legendary afro-beat band, Egypt 80. Since this concert is at the very end of the academic school year, I'm trying not to get too hyped up about it so that I can still enjoy all of the other concerts I go to, but it is, for sure, without a doubt, going to be something to look forward to, and a perfect wrap up for this academic school year--it will be an amazing treat to behold this stunning group.

Stay tuned for more exciting information about the Village Vanguard from Ben and for the appearance of a new blogger from the performing arts committee who has a love for Celtic music, and is even a fiddler herself!

Box Office Hours, FYI

2011-12-14T15:34:00.000-06:00

As the holidays and Winter Break approach, the Campus Arts Ticketing Service hours will change. Below are the times of service for the near future. Of course, the virtual box office is open 24/7 so you can buy tickets online whenever you like.

Happy Holidays!

Union box office
16 December – 23 December: 11:30am-2:30pm, Monday – Friday
24 December – 3 January: closed
4 January – 14 January: 11:30am-2:30pm, Monday – Friday
15 January – 15 May: 11:30am-5:30pm, Monday – Friday

Vilas box office
16 December – 22 January: closed
23 January – 30 March: 11:30am-5:30pm, Monday – Friday
31 March – 8 April: closed
9 April – 11 May: 11:30am-5:30pm, Monday – Friday

I Love the Archives: The House Before the Theater

2011-11-24T10:07:00.000-06:00

Check this out! Do you recognize this building on campus? OK, OK... didn't think so. What you are looking at is the old President's House on the corner of Park & Langdon Street. It was torn down in 1937 for the addition of the west wing of Memorial Union (which includes the Union Theater & Hoofers).

The west wing of the Memorial Union is going to be renovated starting the summer of 2012.

Gratitude: Our Students and Staff Give Thanks

2011-11-23T19:15:00.000-06:00

I am grateful for the kindness and appreciative nature of our performers. Backstage in the theater, we have a lot of posters from past seasons on the wall, and when our performers see all the famous names from over the years, they are really excited to see the history they have become a part of. I enjoy being able to share our distinguished history with them.

What are you grateful for?

We asked some of our students and staff. Here's what they had to say:

Erin Bannen, Marketing Intern:

I am grateful for the ghostlight on the stage at the Wisconsin Union Theater. I was having a rough day at work once and I walked out onstage and looked at the empty house and just thought about all the amazing things that have happened to me in that space. I thought about when I got to be a part of Vagina Monologues on that stage, and the support and love that a bunch of powerful tight-knit women can give to one another (specifically, the courage to talk about your Vagina in front of around 500 people.) I thought about when I saw Sweet Honey in the Rock and a baby in the front row started cooing at the singers and Ysaye Barnwell said, "That's right baby girl. We need your voice too." I thought about seeing my best friend (who is TERRIFIED of public performance) dancing with Bellydancing UW. I went back to work smiling, thinking, "Yeah. That's what you're working for."

Heather Good, Assistant Director for Development & Outreach:

I am grateful that I got to see Savion Glover perform on our stage. It was like watching a monk meditate…he wasn’t “doing” tap dance, he was “being” it. It’s not often that I get to see a performer that luminous.

I am grateful for this wonderful historic building. Participating in the design development process has been humbling. It has made me appreciate the strength of vision that our leaders had when they designed this place 70+ years ago. How can we design something that will serve us well for another 70+ years? I am grateful that my work at the theater allows me to ask the big questions, seek input and answers from many sources, and engage in countless conversations with people who love the theater for many different reasons.

I am grateful that my work gives me a window into all the amazing creative work being done on this campus. I am constantly in awe of our students, their energy and imagination, and the great things they produce.

Lindsay Hanson, Concert Series Coordinator

I am grateful for the incredible quality of performances we present at the theater. We are fortunate to be part of a community that is so supportive of the arts; a community that supports innovative as well as traditional programming. How many other places present such shows as Spring Awakening and Hilary Hahn on the same season, and have audiences who appreciate both?
I am also grateful for all the staff at the theater. I have learned so much from them in my short time working with them. I hope to be able to draw from all these experiences throughout my life.

'Color By Numbers' Thanks Donors For Keeping Student Prices So Low

2011-11-18T15:32:00.001-06:00

by Ted Harks
Campus Arts Ticketing System Manager

Students the world over love hearing their parents tell (and re-tell) them "good old days" stories. True, they may express that love by rolling their eyes and shaking their heads, but these outward expressions mask inner imaginations of what life was like then versus now.

Truth be told, sometimes the students are a little jealous. Who wouldn't want a gallon of gas for 18 cents or a new suit for less than $30? Of course, the average annual income in the 50s was much less than today, too, but why spoil the dream? Imagine if we could enjoy income levels of today while paying the same prices of 60 years ago!

The reality is that things cost more each year. The fees for bringing the world's best performers to Madison are not immune. So how is it that UW-Madison students are still afforded tickets to our season for $10 or less per event in the year 2011?

The generosity of donors makes this possible. Each and every year donors donate money to our Program Endowment Fund, quite often as they themselves are renewing their own season orders. This fund not only helps us to keep on bringing the world's best performers to our stage, but it allows us to keep offering UW-Madison students deeply discounted tickets. Were it not for those who give, we would struggle to maintain the level of quality we strive for and without alternate options student tickets would cost two to four times as much!

We cannot thank you enough, dear donors, for your continued generosity over the years. Thank you for aiding us in our annual efforts to bring the world's best performers to our campus. Thank you for helping to keep student prices so low that affordability no longer factors in to their opportunities to experience the best performances they may ever see in their lives. We couldn't do what we do without you. Thank you.

To those who may have considered making a donation to our Program Endowment or others but wanted to learn more first and didn't know where to begin, please visit our website for details.

Colorful Mexico: Meet the Tarahumara Natives, a Changing People

2011-11-17T13:47:00.000-06:00

Alexis Brown
Marketing Intern

The film “Colorful Mexico,” to be shown on November 28 and 29, showcases some of the most exciting attractions Mexico has to offer, including riding the famous Copper Canyon train from Chihuahua to Los Mochis, visiting with the Tarahumara people, touring Taxco and other towns built by silver mining, enjoying Mexico's west coast beaches, and even petting 40-ton gray whales.

But of all these enticing attractions, the one I’m most interested in is the Tarahumara people. The Tarahumara are one of the largest indigenous groups in North America—by the most recent government count, 106,000 of them live in Mexico alone. The majority still live in relative isolation in the area Mexico calls Copper Canyon. An illuminating article in National Geographic describes one facet of the Tarahumara:

“The Tarahumara are reticent and private people who live long distances from each other, in small adobe or wood houses, or caves, or homes partway under outcroppings so that the rock itself provides the roofing. They brew an alcoholic beverage from corn, which they grow in small fields they plow by hand, and on celebratory occasions they gather to pass the drink from person to person, taking swigs from a hollowed half gourd, until they become voluble or dreamy or belligerent and lie down on the ground to sleep it off. They are extraordinary endurance runners, having lived for generations amid a transportation network of narrow footpaths through the canyons; Rarámuri means "foot-runner" or "he who walks well," and they've been known to irritate American ultramarathoners by beating them while wearing huarache sandals and stopping now and then for a smoke.”

Yet times for the Tarahumara are changing. National Geographic also describes how native customs are changing. Women, for example, once only wore the traditional multicolored head scarves and long skirts of flowery prints, deep-hued pleats, or billowy pastels. But some now wear blue jeans too. Added to the native diet of corn, beans, and squash is the chatarra, the Mexican word for junk food.

The Tarahumara offer us a fascinating opportunity to see the effects of modernization on an indigenous people, who often haven’t seen much change in their way of life for hundreds of years. Come witness the experience for yourself on November 28th and 29th at the Wisconsin Union Theater.

Celebrating 35 Years of the Nutcracker

2011-11-17T11:34:00.000-06:00

Erin Bannen

Marketing Intern

Jo Jean Retrum, the artistic director of Dance Wisconsin has been bringing renditions of The Nutcracker to Madison for 35 years. The Wisconsin Union Theater is honored to have hosted the production for last 12 seasons. I had the pleasure of interviewing Jo Jean to ask what keeps her coming back to the theater, and what makes her rendition of the Nutcracker so unique.

E: This is your 35th anniversary for directing the Nutcracker, correct?

JJ: Yes.

E: Share some reflections on how it has changed or progressed and why. What's different now?

JJ: Well, we started in 1976 and we had scenery that was made out of cardboard, and we manually turned the tree around from Act I into the snow scene in Act II.

E: That is so cool.

JJ: (laughter) So our scenery has really developed since then, with all the flying sets and drops that we have. We also started out in a high school. In 1981 we moved to the Oscar Mayer Theater, and then to the Wisconsin Union Theater in 1999. And we’ve been there ever since! In the beginning I did some of the lead parts, and then we started bringing in international guests from American Ballet Theater, New York City Ballet and Joffrey Ballet. The other thing that has really changed is that in 1999 we revamped the show, Taras Nahiriniak added original music, we’ve got more ethnic and ballroom dance and there’s singing; so it’s not just a ballet but family entertainment that more people enjoy.

E: Why do you keep coming back here?

JJ: We really like the facility, and we really like working with the people there. It has the flavor of old fashioned performance. It’s not like being in a modern theater where they try to make everything look old. The people are very helpful, especially my production manager Jeff Macheel.

E: So you like it because it actually has a history.

JJ: Yeah. You can tell that kind of thing.

E: What is one of your favorite Nutcracker memories?

JJ: My birthday is on Dec. 15th, and we had a dress rehearsal that day. As I was entering, the orchestra all of a sudden started playing "Happy Birthday." I said “Enough, Enough, we have to keep rehearsing!” It was a really neat thing for them to do.

E: Why should people come see your production?

We really showcase our dancers. My guest artist Justin Genna started dancing with me when he was 8, now he’s with Milwaukee Ballet. He’s a student who listened to my advice, worked really hard and now he’s living his dream. It is so nice to showcase that to my other dance students because they see what they can accomplish.

And I’ve been teaching long enough that I have students that can dance these roles, so I don’t always have to bring it guest artists. It means a lot to me to include them, because it gives them an opportunity to grow as dancers. That’s why we’re here. We’re not here to hire dancers from outside the community; we’re here to build a dance community in Madison. We have people who have been coming back for over 20 years.

And we have a live orchestra because it’s a very important part of a dancer’s education. You know, it’s really different than hearing it on a tape. And the orchestra is important for the audience too; for some people this is the first time, maybe the only time they’re hearing a live orchestra.

And this is not just straight ballet. We’ve got different kinds of dance, different kinds of music, and people keep coming back because this performance of the Nutcracker is unique. We thought about including a battle scene but decided it wouldn’t be good for kids, so we cut it.

E: That’s a good call. I remember seeing the Nutcracker when I was five and crying during the battle scene.

JJ: See? That’s why.

E: What advice do you have for aspiring dancers or choreographers?

JJ: Well, as a choreographer, you just have to keep working and fine-tuning and changing things. Whatever your dancers can do you have to be able to make them look their best. If they aren’t ready to do a certain step then you change it. For both dancers and choreographers, I’d say it takes a long time to develop skills; the people that you see on TV are much older than you think and it takes a long time to break into the business and get acknowledged and appreciated. So just hang in there.

Upcoming Concert Series Events

2011-11-14T12:28:00.015-06:00

By Lindsay Hanson
Concert Series Coordinator

What a great year for the Wisconsin Union Theater Concert Series! If you missed our first semester events - recitals by the Academy of St. Martin in the Fields Chamber Ensemble and young violinist Caroline Goulding - you still have a few more chances to hear some of the world's best classical musicians before the theater goes dark for two years.

In what is likely the coldest month of the year, come inside to warm up with the beautiful sounds of the David Finckel, Wu Han and Phillip Setzer piano trio. They perform at the Union Theater on Friday, February 24 at 7:30 pm. (If the music doesn't warm you up, Wu Han's outfits certainly will - they are full of vibrant color!) Recently named Musicians of the Year by Musical America, Finckel and Han are joined by Philip Setzer, a founding member of the Emerson String Quartet, to present an all-Mendelssohn program. This performance is also our 2012 Fan Taylor Memorial Concert.

Join us in celebrating the Pro Arte Quartet's Centennial Year! Founded in 1912 as the Court Quartet to Queen Elizabeth of Belgium and resident ensemble of the UW-Madison School of Music for over 50 years, Pro Arte Quartet presents a series of world-premiere works throughout the 2011-12 school year. In the Union Theater on Saturday March 24 at 8 pm, UW piano professor Christopher Taylor joins Pro Arte Quartet to present William Bolcom's Piano Quintet no. 2 along with works of Webern, Milhaud and Mozart. Don't miss this FREE concert by our hometown quartet.

Finally, celebrate the end of the school year by attending the concert by pianist Peter Serkin on Saturday, May 5 at 7:30pm. Serkin is not an unfamiliar name here at the Union Theater - Peter's father Rudolf Serkin appeared in the Concert Series's 26th Season, and some might recall Peter's debut during the 49th Concert Series in 1968-1969. Serkin performs a solo recital this May, 43 years after his Union Theater debut. We are very happy to have him back for his fifth performance on our stage. While you're anxiously awaiting the arrival of spring, and the chance to hear Peter Serkin, check out this video of father and son playing Schubert!

Great tickets are still available for all of these shows! Contact our box office today!

Dobet Gnahore: Call & Response

2011-11-02T15:56:00.000-05:00

by Shawn Werner

Performing Arts Committee Director

African music is distinct. It’s percussive, danceable, vocal, and at times heavily relies on a call-and-response dynamic. The music makes a call (statement) and the listeners are the ones who react. It’s much more than just singing, however. Other elements support the call. How one moves, or how the music is arranged clarifies what call the singer is making. The call expresses everything: love, social issues, repression, joy, nature, the divine, and a combination of these. No other African singer does this better than Dobet Gnahore.

Gnahore, who is from the Ivory Coast, is the quintessential musician when it comes to call-and-response. Her music speaks of love, forgiveness, issues of women in Africa, social issues, joy, and everything in between. An accomplished dancer, she moves effortlessly on stage to the percussion, swaying back and forth in her own world. Oh, and I forgot to mention: she sings in eight distinct African languages, enabling her to speak to a broader audience. Her voice is smooth, light, and seamless. It ebbs and flows as if out of different characters, fully utlizing her expansive range. A great example of this is her song “Samahani” (a Swahili word for “forgiveness” or “I’m sorry”). She calls out to whomever she’s singing about (it’s unknown in the lyrics) asking for forgiveness and there’s a sense of aching in her voice. Here’s the English translation of the lyrics:

Forgive my bad faith

Forgive my absence

Nonetheless I love you

But I don’t know how to love

Forgive me for the lost time

You waited and hoped

Forgive my ignorance

Forgive my denial

Forgive my silence

To you who loved me

Forgive my anger

You have the right to forget me

But forgive me

You can possibly make the claim she’s singing to a lover, but is that really the case? She doesn’t explicitly note that in the lyrics. It is this ambiguity that creates the ‘response’ in the listener. The listener has heard her call for forgiveness, and it is up to to the listener to figure out just who or what exactly Gnahore is talking to. Is it a lover? Is it the divine? Is it a friend? Or is it possibly the Ivory Coast? See, Gnahore does an amazing job issuing a response out of the listener, but in the end, the listener has to make the decision whether or not to do something about the call. I’m excited to see what other calls she’ll be making at The Sett next week.

Advice for Playwrights

2011-11-02T11:44:00.000-05:00

by Hope Evans

With the last date for play submission approaching, I recently had an opportunity to ask one of last year's winning playwrights about her experience with the Marcia Legere Play Festival and whether she had any advice for this year's entrants. Erin Bannen was a senior English major, emphasis in creative writing, when she submitted her play, "A Jar of Feathers", last year. Don't forget, submissions are due by November 14 at 5pm.
Any questions can be sent to ml.play.festival@gmail.com

What made you decide to enter the competition?

I saw a flier :-)

Describe the experience of having your play produced. Did you learn a lot during the process? What was it like to see the end result?

The whole process was incredible. Bethany, the director, was so considerate. She wanted me to be involved, asked for my input, and it was so clear to me that she wanted to get a clear vision of what I had in mind for who these characters were. This was especially crazy for me, because I like letting directors go off and do their own thing with my plays; I think seeing what they come up on their own and with the actors is fascinating. Bethany did do this in her own way, but she wanted to start with me as a base. I was honored to oblige.

The actors were wondeful. Well-cast, committed, and they took me out for dinner after their first dress rehearsal. They said they wanted to know the "secrets" in the play. When did I write it? What was going on? What was I inspired by? What else did I write? Where did their names come from? I felt like a Hollywood celebrity. They were so genuinely excited, and it was so clear to me that they were committed to their roles.

Do you plan on doing more playwriting in the future? If so, in what capacity?

I've got one in the works right now! It was the product of a playwrighting class here at UW, led by the amazing and fabulous Sarah Phillips. I'm not sure what I'll submit it to yet, we'll see!

Do you have any advice for this years' playwrights?

Don't be too tied to your work. See where the directors and the actors take it.

Colorful Mexico! : A Country as Vibrant as its Cuisine

2011-11-01T15:47:00.000-05:00

By Nina Reynolds

These days, the only thing I miss about not having a TV is not being able to curl up on the couch on Saturday mornings and watch the Food Net work with my sister. When I still lived at home, Chloe was always the first one up in the morning, which meant that she chose the channel. At age 10 she mirrored someone 50 years her senior - awake at 5am, snugly surrounded by the blanket she was in the process of knitting, milky tea on the coffee table next to her, and eagerly attentive as Paula Dean or the Barefoot Contessa did their schtick in the kitchen onscreen.

Back then, I may not have agreed with Chloe that visiting craft stores for new yarn was a good way to spend an afternoon, or that reading Jane Eyre (again!) trumped going out with friends 99% percent of the time, but we did agree on one thing (when it came to the Food Network, at least): we loved Rick Bayless.

Rick Bayless, for those of you who are unfamiliar, is an American chef who specializes in cooking Mexican cuisine. He has authored cookbooks, hosted TV shows, opened restaurants, started food product lines, lead cooking and cultural tours to Mexico, starred in Top Chef and Iron Chef America, and has won MANY prestigious awards. Perhaps most importantly of all, Rick is actively involved in organizations that support environmentally friendly, local farming. Basically, Rick is my hero.

It's hard not to drool when Rick's vividly colorful food is being shown on television. Harder yet is trying not to drool when he talks about his food - when he describes the rich, fresh flavors and intricate textures, and when he talks about Mexico, his passion and inspiration. Rick lived in Mexico with his wife for several years. Unlike many Americanized versions of Mexican cuisine, his dishes are born from an understanding of Mexico. He doesn't just make the food; he celebrates Mexican culture with every chop and stir. Watching Rick for just half an episode of Iron Chef is more than enough to make Chloe and I daydream about visiting Mexico. Heck, why don't we just move there?! Chloe, if you're reading, I'm ready when you are!

Well, Rick is certainly not the only expert on Mexico around. Fran and Brooke Reidelberger journeyed south of the border to document their adventure from the warm waters of the Baja Peninsula to the vast recesses of the Copper Canyon, and everything in between. Like Rick Bayless, the Reidelbergers make it a point to explore and showcase parts of Mexico with which we, as Americans, may be unfamiliar. Although they do take a tour of the famous west coast beaches that are the destination of many an American tourist (Acapulco, here we come!), they also venture inland where, among other things, they meet the Tarahumara people, who are indigenous to Chihuahua.

As I'm restricted by a student budget, my yearning for Mexico may have to be satisfied by the likes of Fran and Brooke Reidelberger and Rick Bayless for now. But that's what's so great about film. For those of you who, like me, can't quite make it to Mexico right now, come to the Wisconsin Union Theater on November 28th or 29th to explore the country through the Reidelbergers' camera. Colorful Mexico! will start at 7:30pm in the theater, as usual, for only $13. A buffet dinner will be served at 5:30pm for those of you whose mouths are watering for Mexican food after watching the video of Rick Bayless above. The dinner is only $16.

See you in the theater!!

Jeffrey Siegel: Venerable Pianist, Fantastic Storyteller

2011-10-28T16:10:00.000-05:00

Erin Bannen
Marketing Intern

Jeffrey Siegel is an acclaimed pianist, but he is also an incredible storyteller. His concert series, aptly named Keyboard Conversations, combines his technically brilliant performance of classical pieces with a verbal performance of the stories behind them. I don't know what stories he will choose to tell in his November 16th concert, A Beethoven Bonanza. But since I'm more a storyteller and less a pianist (okay, me and piano match like peanut butter and figs), I'm going to give predicting Siegel's stories a shot.

If I were telling the story of Sonata Opus 31, No. 3, I would begin with its date. It was performed in 1802, right after Beethoven started to lose his hearing. Yet, is it said, "a playful jocularity is maintained throughout [...] earning it the occasional nickname of The Hunt." Really? Why? I've got a few guesses.

The first is that this Sonata is an attempt to indicate to the world and to himself that his hearing, and his future as a pianist, is just fine, thank you very much. But I have a sneaking suspicion that he knew something was wrong. How could he not, when hearing was the most important thing to him besides his hands? The Sonata takes on a new life, one characterized by a desperate, frenzied attempt to convince himself and his audience that nothing is, in fact, wrong. That raises the stakes a bit, doesn't it?

It's worth noting that Siegel's second piece, Sonata Pathetique Opus 13, was written at around the same time as Sonata Opus 31, No. 3. Instead of being "jocular," this work is described as "tragic and fiery." It reminds me of the Dylan Thomas Poem, Do Not Go Gentle into That Good Night. Here's a verse:

Do not go gentle into that good night,
Old age should burn and rage at close of day;
Rage, rage against the dying of the light.

Except it isn't old age against which this Sonata rages; it's the reality that a brilliant pianist's hearing is being ruthlessly taken away.

Sonata Opus 109 is described as transcendent with good reason; it was written after deafness had engulfed the composer. What I think is important about this one is "its divergence from the norms of sonata form and for its harmonic, formal and other innovations, or even revolutions." It is as though Beethoven is saying, "Never heard of a deaf pianist? Well I've never heard of this kind of a Sonata. And I'm gonna play it to prove that it, and I, are great in our acts of revolution."

Jeffrey Siegel performs these pieces at the Wisconsin Union Theater on November 16 at 7:30 pm. Don't miss this opportunity to hear the stories behind the music.

Caroline Goulding and the General Kyd Stradivarius

2011-10-27T15:55:00.000-05:00

By Lindsay Hanson
Concert Series Coordinator, WUD Performing Arts Committee

Since 2010, Caroline Goulding plays the c.1720 General Kyd Stradivarius. While many people know the name Stradivarius, and know that that's a good violin, I thought I'd find out what makes it so great. Why on earth would someone want to play an instrument that's almost 300 years old? If I played a horn from 300 years ago, I'd be playing an instrument like the "Trompe de Chasse," and I would probably be playing it on horseback to accompany a fox hunt. I would only be able to play in one key, unless I was carrying a whole bunch of different instruments. Thankfully, in the 1800s, the valve was invented, allowing the horn player to press buttons which opened up different sections of tubing on the instrument and made it possible to play in different keys on the same instrument. (Check out Tom Bacon's website for more information on the horn - I'm going to talk about the violin now.)

Unlike the evolution of today's modern horn, the overall design of the violin hasn't changed much in the last 300 years. Compare the Stradivarius to an instrument of today: I'd say that they look pretty much the same. The Stradivarius family is credited with having come up with a fantastic formula for stringed instruments that luthiers have attempted to copy for years. Some scientists think it's the varnish and the wood used for the instruments. (Check out this neat article from Time!) Other string players I talked to say that the wood settles over time, bettering the instrument's quality. And still others say that the proportions the Stradivarius family used are what makes the instruments' acoustics so great, allowing the notes to really ring. It certainly is a mystery to me.

You can decide for yourself when Caroline Goulding plays at the Union Theater next week! She gives a recital with Dina Vainshtein, piano, on Thursday November 3 at 7:30pm, and appears a second time with the UW Chamber Orchestra, performing the Mendelssohn Violin Concerto on Saturday November 5 at 7:30pm. In the meantime, check out a video of her playing some Tartini!

Check Out These Astounding Videos!

2011-10-25T12:15:00.000-05:00

From the venue that first brought Kodo to Madison, Meet YAMATO! This Thursday, 8 pm. Tickets still available.

Pakistan and Afghanistan: Behind the News Headlines

2011-10-20T16:26:00.001-05:00

Marlin Darrah, the award-winning executive director of the renowned Portland, Oregon-based production company, International Film & Video, visited the theater last season with his CUBA: A Road Trip from Havana to Santiago de Cuba. Darrah’s 30 years of production experience have taken him to more than 130 countries worldwide, yielding more than 70 documentary and travel-adventure programs to date.
PBS, History Channel, Discovery Channel, CNN, FOX, CBS, ABC, TBN and MTV all have aired his programs.

Recently Darrah also wrote, directed and produced an acclaimed dramatic feature film, “Monsoon Wife,” in Cambodia,“ the first American movie shot entirely in that country since “Lord Jim.” Darrah’s productions have screened and won awards at more than 15 national and international film festivals in Rome, New York, Los Angeles, Chicago, British Columbia, Florida, Arizona, Oregon and Washington.

On Monday and Tuesday, October 31 and November 1, Darrah will show his "Pakistan and Afghanistan -- A Photographer's Journey from Kabul to the Khyber Pass and the Tribal Zone." Images of Afghanistan and Pakistan have been common on the news in the last 10 years. The two countries have been suddenly thrown onto the world stage with the war on terrorism. But how much do we really know about these distant and intriguing frontier countries? This is your opportunity to learn how people live in these lands, as well as see their exotic landscapes. Journey with Marlin Darrah as he explores what it is really like for a non-military traveler to take a trip through these two fascinating countries.

Savion Glover's SoLe Sanctuary a Hoofed Meditation on Dance

2011-10-19T16:20:00.002-05:00

Esty Dinur
Marketing & Communications Director

"For some people, tap dancing is religion. One of them is the worshipful hoofer Savion Glover, who has erected a shrine inside the Joyce Theater in New York for “SoLe Sanctuary,” a miracle-filled program."

So starts a review in NJ.com of the show tap master Glover is bringing to the Wisconsin Union Theater. This is not the show originally announced--"A Classical Encounter" was canceled after a collaborator accepted a full-time job with an orchestra. But anyone who loves Savion Glover, tap dancing, spiritual experiences, art, and reverence for the old masters is assured to have a magnificent experience.

On stage is a shrine of votive candles. Photos of departed tap masters are hanging from the ceiling. There are four wooden platforms: "one for Glover, one for Davis, one for a pair of tap shoes, and one for an Asian guy who meditates throughout the 80 minutes." (Village Voice). And then there's Glover and his dancing partner, Marshall Davis Jr. The dancing, we're told, is as impeccable, beautiful and exciting as ever.

While the direction and choreography of SoLe Sanctuary are credited to “Spirits Known,” much else is known too--Glover's incredible talent and ability, for one. "The resonance of his simplest toe-drops, a sound like bongos or timbales, is as expressive as the thrill of his speediest passages, rich with shifting patterns and differentiations of pitch," says the Village Voice.
"His long lower legs temper the forceful patter of his feet with rubber-band dexterity, adds the New York Times.

SoLe Sanctuary. Savion Glover. The spirituality of dance. All on display here on November 10.

I ♥ the Archives and our whale!

2011-10-19T11:01:00.010-05:00

If you've ever been back in the Theater offices, you may have noticed some silk screened posters that adorn our walls. If you haven't, come on by! I'd love to show them to you!

Of all the striking ones we have, I wanted to share this plainer one with you and draw your attention to this whale looking motif in the background of the text.

What the heck is that?, you might ask. Well, you're not the only one. The other day, I was handing out some season brochures with this same design on the cover to some friends. To my surprise, no one knew what it represented! I felt compelled to tell the whole world (i.e. you readers) that it's the silhouette of the Union Theater! Yes, folks, it's been there since 1939.

Dobet Gnahore: Lingual Mixing and Profound Performance Found in the Ivory Coast’s new star

2011-10-18T22:36:00.003-05:00

Some say music was in Dobet Gnahore’s blood. Her father is, after all, Boni Gnahoré, a master percussionist who plays with the Abidjan-based Ki-Yi Mbock Company, and she begged her father to take her out of school at the age of twelve so she could focus on her music. She learned of the world from those around her in Le Village Ki-Yi, an artistic commune co-founded by WeréWeré LiKing and dan Boni, located in the thriving metropolis of Abidjan. This locale proved to be especially fortuitous, for when she came across Colin Laroche de Feline, the French guitarist, she formed a musical partnership still flourishing today. She now tours the world performing original music with Laroche in an astounding seven languages.

Listening to Dobet Gnahore’s music on YouTube, I must admit, my years of French have failed me. I have no idea what she’s saying. But what’s more striking is that I don’t particularly care. Her music is so intense and varied, so rhythmic, and her rich, flexible voice moves so easily from a high, pure girlish timbre to a stern, throaty cry, that I am perfectly content to just sit there listening. Bitch magazine reported a similar impression upon hearing her perform in 2007: “Gnahore has an extraordinary voice, and she wields it in so many unique and distinct ways that not only do we not get tired of hearing her, but it doesn’t even occur to us that we can’t understand the lyrics.”

Yet these Youtube videos, so I’ve heard, do not even come close to doing Dobet’s live performance justice. The Boston Globe describes how this “riveting artist… creates an entire concept for each piece complete with choreography and lighting,” Gnahore herself becoming a “whirl of motion on stage, her dreadlocks flying as she dances around the bandstand, then sits to tap out intricate rhythms on hand percussion.” Dobet’s extraordinary personality comes alive in her vivid on-stage displays, and it seems you cannot really understand this artist, or fully enjoy her music, until you have seen her perform these songs in the flesh.

But as for now, these reports are merely hearsay. I’ll have to see her on November 11 to find out for myself.

Alexis Brown

Marketing Intern

Savion Glover the Teacher

2011-10-17T16:18:00.010-05:00

Erin Bannen
Marketing Intern

So maybe you heard Savion Glover was a famous tap dancer. Maybe you heard he gives a heart-wrenching performance as the main character in Spike Lee's film, Bamboozled. Maybe you even heard he was the genius behind Happy Feet's Mumble, the penguin who can't sing, but who's got a mean sense of tap. But here's a question: Did you know he has a school?


Savion, with 5-year-old student Jackson Swinton

Meet the Savion Glover Productions HooFeRzCLuB School for Tap, a school dedicated to "spreading the joy through Tap Dance, entering a realm beyond the combination." That last sentence comes from a dancer who has become world renowned for his innovation to the discipline. What is tap? "It's the bass line," says Savion. "Funk is anything that gets one's head on beat. It is riding with the rhythm. It is a pulse that keeps one rolling with the beat."

Is this a school where your kid will learn the history of tap from a master? Actually, yeah. But students also learn "to identify with the creative process that can revise and refine their own approach to Tap Dancing." Anyone can teach a history class. Glover teaches innovation.

So don't miss Glover's performance on Nov. 10th at the Wisconsin Union Theater. I wouldn't be surprised if her grabbed an audience member and taught them how to hoof.

Calling All Playwrights!

2011-10-13T17:56:00.000-05:00

by Hope Evans
Marcia Legere Play Festival Coordinator 2012

From the 2011 Marcia Legere Play Festival

It is time to get ready for the 21st annual Marcia Legere Play Festival, which is set to take place March 10-11, 2012. The festival is named for an alumna of the University of Wisconsin who won the first Wisconsin Playwrights Contest in the mid-1940s. From there, her career took her to New York City and San Francisco, writing for TV and documentaries and in a number of other mediums as well. In an effort to give back to the university, Marcia Legere-Binns gave a generous contribution each year for the competition. Marcia passed away recently, but left an endowment fund so that the festival can continue.

Right now we are taking submissions by playwrights for the competition. All of the plays will be judged by members of the faculty from the Creative Writing/English and Theater fields and two to three winning scripts will be chosen. The winning playwrights will receive a cash prize and will have their names engraved on a plaque, which will be hung in the new theater after the remodeling project. And, of course, the winning plays will be performed during the festival.

This year we are looking for one act plays that can be performed in 40 minutes or less, written by current students of the university (undergraduate or graduate, enrolled through the 2011-2012 academic year). The plays can be written about any subject. Please DO NOT submit scripts that are meant to be screenplays, as the winning scripts must be ready for performance on a stage. Submissions are due to the by Monday, November 14 at 5:00pm. Please e-mail them to ml.play.festival@gmail.com or drop them at the Wisconsin Union Theater's office in Memorial Union.

Good luck to all!

Summer Camp and Folk Laments: Jay Ungar and Molly Mason

2011-10-13T11:51:00.002-05:00

by Alexis Brown
Marketing Intern

The transition back from summer camp is always a strange one. As a many-seasoned veteran of Girl Scout camp, I should know. Suddenly, the place where you’ve lived for the past three months isn’t your home anymore, your friends are no longer in the next room. There are no more campfire songs, no communal mealtimes, no morning hikes, no breakfast rituals.

Jay Ungar knows the feeling too. He describes it well, having felt it acutely upon returning from Ashokan Fiddle and Dance Camp in 1982, a camp he has run with his wife and fellow composer Molly Mason since 1980. “I was feeling a great sense of loss and longing for the music, the dancing and the community of people that had developed at Ashokan that summer,” Jay wrote. “The transition from living at a secluded woodland camp with a small group of people who needed little excuse to celebrate the joy of living, back to life as usual, with traffic, newscasts, telephones and impersonal relationships, had been difficult.”

Of course, the similarities between us end here. Whereas all I could produce when I got home each summer were some campsick-sounding emails, Jay wrote what may be his most famous composition when he returned home in 1982: “Ashokan’s Farewell.”

I'm no expert on folk music, but “Ashokan Farewell” is some of the most hauntingly beautiful music I’ve ever heard in any genre—and it’s a strange emotion, to feel suddenly chilled by something so ethereal, yet stunningly heartfelt and warm. There’s something piercing in the way this band performs a lament, as if it were composed to shock you out of your day-to-day routine and into a deep reflection.

The go-to byline for this folk band tries to sell them as a relic of a simpler age, happier without modern tedium or technology. That claim may have a bit of merit—their music does have a certain stripped-down quality to it, sometimes consisting of little more than a single violin. It's also been used in Ken Burns’ "The Civil War" documentaries, as well as “Brother’s Keeper,” a documentary set in a rural farming community near Syracuse, New York.

I think there's something more interesting going on here though. Even if this music is meant to gesture back to the days of the Civil War, or the time before industrialization, the period it references was certainly not a simpler one—if anything, it was equally complex to ours, even more bloody, maybe, certainly more raw. So what’s at stake here, then? What’s the lament for—what’s been lost?

I don’t have an easy answer to these questions; I can’t say my twelve-year-old self ever reached this level of profundity sitting around the fire at Girl Scout camp. But their music reminds me of the kind of community I felt there, and of how lacking this feeling can sometimes be in our day-to-day life, as it slips by before us. But it slips by like that because we let it. And it makes me wonder if their laments are for a forgotten age at all—or if they are, instead, an elegy for our own.

Yamato, "Spirit of Japan" and the Beat of Courage

2011-10-12T19:00:00.014-05:00

by Catherine Harris
World Stage Coordinator

Although while they travel the world they carry the motto, "Go anywhere if invited and make the world a little more happy," this show entitled Gamushara, "The Beat of Courage," will certainly in some measure take on a more somber note, as it is dedicated to the remembrance of the Tsunami and Earthquake that struck Japan in the spring of 2011.

Yamato's interactive show includes a mix of choreography, singing, comedy, and of course drumming on traditional Japanese drums in a style called Taiko. Taiko can literally be translated to 'drum,' and it refers to a wide variety of traditional drums. For the show at the Union Theater, be prepared to experience the whole arsenal; Yamato's almost two dozen performers will be playing all kinds of drums from small hand drums, to the largest drum weighing in at over 1,000 lbs!

Come see them on Thursday, Oct 27, at 8:00 pm in the Wisconsin Union Theater. Buy your tickets here!

'Color by Numbers' Plays the Odds

2011-10-12T15:52:00.000-05:00

by Ted Harks
Campus Arts Ticketing System Manager

Recent statistics reveal that 'dark days' are rare in our theaters.

Did you know that 'dark days' are what we in theater call the days when there are no events happening on stage? If there is no event, the theater house lights (save the ghost light, which is another theater term for another time) are switched off and the house is, quite literally, dark.

Did you have any idea just how few days each year our theaters actually are dark? As I hope this 'Color by Numbers' edition illustrates, the answer is almost zero. Between our two theaters we average more than one audience event a day every day of the year. This morning, for example, while I was typing this article, we had a touring company performing in the Wisconsin Union Theater and tomorrow night we will host an entirely different event. And some days we host multiple events in both venues!

Did you know that most of our so-called dark days are not dark at all? Between events, our technical staff is working hard, striking past events and setting up for new events. Stated differently, in the spirit of Halloween, we allow our theater ghosts very little quiet time to themselves.

Be sure to frequent our website, follow our blog and Twitter feed and Like us on Facebook to keep tabs on our never-ending stream of great upcoming events.

Students: Participate in the Theater's Future!

2011-10-12T09:55:00.001-05:00

By Ralph Russo
Theater Director

Spring Awakening cast with members of the Performing Arts committee

Greetings,

I am writing to share with you my excitement about the Wisconsin Union Theater and its future. As you may know, starting in June 2012 the West Wing of Memorial Union will undergo major historic preservation and renovation which include the Wisconsin Union Theater and the Play Circle Theater. Needless to say, we are thrilled about this. And we need your help.

Students have the opportunity to vote on an important piece of this future from Monday, 10/17 – Wednesday, 10/19 and I urge you to vote informed. The Student/Theater Lounge will enhance your theater-going experience, offer tremendous sunset views from the Sunset Deck, and allow for a lake view all year round, even in the “splendor” of winter!

The Wisconsin Union Theater turns 72 years this October. For all 72 years it has served UW-Madison students in many ways: provided steeply discounted ticket prices, served as a place where student performers can produce and present events with the backing of a professional technical & production support team, and served as a learning laboratory for generations of set designers, lighting professionals, stage hands, sound technicians and arts administrators. Through these experiences many students have entered careers in performance, directing, technical stage and film work, and arts administration. Students have always been at the core of presenting and choosing the performers for the theater’s season and you, too, can join the Performing Arts Committee and decide what performers should be included in future seasons.

Please read the fact sheet about the project and vote informed! All of these improvements enhance our ability to create community through connections and opportunities in the performing arts. We strive to engage every student on campus–whether attending a performance by a world class artist, a lecture by a renowned scholar or by serving as a user-friendly and affordable space for students and student organizations who are learning to produce and present the arts. As the University of Wisconsin’s premiere performing arts venue I promise we are here for you!

Don't Miss Your Chance to Win Gaelic Storm Tickets Through UW Credit Union!

2011-10-11T10:33:00.000-05:00

By Nina Reynolds

Offering two easily-accessibly campus locations, dozens of fee-free ATMs all over Madison, free online banking, and the option to use student ID or WisCard, as a PIN-based debit card, UW Credit Union is a great resource to students. You might think theater and banking have nothing in common, but I know that the Wisconsin Union Theater and UW Credit Union share one very important goal: to serve UW-Madison students and the Madison community-at-large.

And that’s why we partnered with UW Credit Union this year! If you’re a UW-Madison student and you haven’t already stopped in to open an account at one of the conveniently-located UW Credit Union branches on campus - there’s one on State Street and one at the new Union South on West Dayton Street – do it! And soon! I’ll tell you why…

This December, UW Credit Union will hold a raffle to win TWO free tickets to Gaelic Storm, who will be performing at the Union Theater on February 17, 2012. UW Credit Union members will receive information about the drawing in the Limelight newsletter issued in December, and fans of UW Credit Union on Facebook will also be notified once the drawing is announced.

Imagine all of that saving potential! With UW Credit Union you can save all those hard-earned paychecks in one safe place and get tickets from the Union Theater that you’ll be able to enjoy your honey when spring rolls around. Going to see Gaelic Storm would make a grrrreat date!

Psst! If you need a little refresher, Gaelic Storm is that Celtic band that rocked the Union Theater for a sold-out crowd last spring (the same one that played in the movie Titanic). Check out event details here.

Aaaand the deals don’t stop there. When you’re at any Union Theater event, make sure to stop by the Performing Arts Committee table to pick up goodies supplied by UW Credit Union.

Aren't collaborations great?!

Caroline Goulding - Then and Now

2011-10-10T18:05:00.002-05:00

by Lindsay Hanson
Concert Series Coordinator, WUD Performing Arts Committee

I'm looking forward to meeting Caroline Goulding next month - because the last time I saw her, which was in June of 2003, she was 10 years old. This is what she looked like. I was 15, and had just finished my freshman year at the Interlochen Arts Academy in my hometown of Interlochen, Michigan. My dad came home one evening and said that Jennifer Granholm, then governor of Michigan, was coming to Interlochen to visit as a part of her "Travel Michigan" Tourism Initiative. Since the governor was coming in June - when the school year is over and the summer camp season has not yet started - the school was scrambling to find Interlochen students to play for the governor's visit.

My father said that this little kid who had been in camp the previous summer was going to play violin for her. Well, why couldn't I play horn for her? I was already in town! I was talented, too! Girls who play brass instruments are unique and interesting! Well, at age 15, I was no longer cute. I was a teenager. I wouldn't have made the governor look like this:

The horn, played by a tomboy-ish 15 year-old girl, just doesn't have that heartwarming effect on people. Though I may have been good, I just didn't make the cut for the governor's visit.

But things are different now. Caroline Goulding and I both grew up, and while we have shared some common experiences, we embarked on different career paths. While I aim to become an amazing and creative arts administrator, Goulding has entered the performing world. Only 19, she has appeared as a soloist with orchestras such as the Cleveland Orchestra and the Houston Symphony, and has performed alongside Béla Fleck (who is coming to the Union Theater in March!), Elaine Douvas of the Metropolitan Opera Orchestra, and pianist Christopher O'Riley. I worked Béla Fleck's show one summer at Interlochen, Elaine Douvas was a judge at the 2004 Interlochen Arts Academy Concerto Competition where I was a finalist, and I appeared with Christopher O'Riley on NPR's From The Top in 2005. Here's a photo (I'm on the left.):

Who knew that in the Fall of 2011 in Madison, our lives would cross again - Goulding an emerging soloist, and myself a graduate student. And this time, I'll actually meet her. I'm excited for that--and to hear her playing!

Goulding's recital performance, which includes works of Mozart, Enescu, Schumann, Fauré and Saint-Saëns, is held in the Union Theater on Thursday, November 3 at 7:30pm. She also appears with the UW Chamber Orchestra on Saturday, November 5 at 7:30pm, performing Mendelssohn's Violin Concerto. I'm looking forward to both concerts, and I hope to see you there!

Terence Blanchard and Spike Lee: A Revolutionary Partnership

2011-10-06T10:44:00.000-05:00

Erin Bannen
Marketing Intern

Remember the funeral dirge of Spike Lee's Katrina Documentary, When the Levees Broke? Here's a refresher: an all African American jazz band playing through the rubble like they're at a pep rally circle a crudely made coffin with a cardboard sign that reads "KATRINA."

Matching the joyous with the grotesque has a chilling effect which is characteristic of Spike Lee's films; take the end of Bamboozled, where Mantan (played by Savion Glover) is gunned down by terrorists while tap dancing--and his friends watch it all on TV. These juxtapositions seem nuts, but they make a crazy kind of sense. I mean, when tragedy strikes, the real kind, words can't capture the chaos. That's where music comes in.

Terence Blanchard wrote the score for When the Levees Broke, the main theme for Bamboozled, and those are just two of the incredible collaborations between these powerhouse artists. Blanchard's music becomes the soul of those Spike Lee moments, those moments where nothing makes enough sense for words. So don't miss Blanchard when he comes to the Union Theater on Oct. 22nd. Not convinced? Check out a few more Lee-Blanchard collaborations below. :-)

Track from the 25th Hour
Terence Blanchard Quintet and Kennedy Center Opera House Orchestra

Track from Malcolm X
Opening Credits – Terence Blanchard Quintet and Kennedy Center Opera House Orchestra

Track from Inside Man
"Hostage Breakdown" – Terence Blanchard Quintet and Kennedy Center Opera House Orchestra

Memorial Union Reinvestment Update

2011-09-28T16:45:00.001-05:00

What’s new with the Memorial Union Reinvestment project (MUR)?

As you probably know, the Union is preparing for a large building project that will begin with the renovation and preservation of the Theater and Hoofers Wing in the summer of 2012. This project has a long history and is the product of years of hard work from students, staff, faculty, alumni and the community.

In 2006 students passed a referendum funding the majority of the cost to build a new Union South and restore and upgrade Memorial Union. Since that time, thousands of students, staff, faculty and alumni have worked together to envision the future of the Wisconsin Union. With the success of the Union South project fresh in our minds, we have refocused our vision and efforts to Memorial Union.

As you might expect, renovating and updating a structure built in the 1920s is quite a challenge. For over 80 years this building has been the heart and soul of campus and the home of countless memories. Beyond logistic and construction concerns, we must also carefully preserve the history, character and ambiance of our beloved Memorial Union. A building this old requires a lot of updates to infrastructure to ensure that it will remain functional, accessible and safe for years to come. While the MUR project includes upgrading some spaces within the building, it is primarily about preserving what is already great about the Memorial Union.

Key elements of the project include:
•    Enhanced student/program space
•    Improved accessibility
•    Upgraded infrastructure
•    Increased Terrace space
•    Sustainability
•    Modern Technology

Since its inception, this project has focused on preserving the past and building for the future. It is those ideals that continue to shape our planning for the Memorial Union Reinvestment. We are proud to say that students, staff, alumni and faculty have all been involved in every step of this process. This level of involvement and input makes us confident that the MUR project has moved forward in a democratic and user-focused way. The Wisconsin Union prides itself on its transparency and community involvement, and this project is no exception. Thanks to the hard work of many, the development and design process is in its final stages and we are excited to see the project move forward.

The MUR website, www.unionreinvestment.wisc.edu, contains updates and background information on the project. We encourage you to stay informed on the project by following @mureinvestment on Twitter and by visiting our Facebook page.

This is an exciting time at the Wisconsin Union and we encourage you to share your knowledge with others. The Memorial Union has served our campus and community for many, many years, and we look forward to seeing it evolve and grow to meet the needs of students and members in the coming semesters, years and beyond.

Signature Cocktail for Sweet Honey in the Rock Concert!

2011-09-28T10:32:00.000-05:00

This semester, we will be offering special, signature cocktails for purchase during some of our shows. The first one, offered only at the Sweet Honey in the Rock concert on October 7, is Bee Cocktail: Honey, lemon juice, and Dark Jamaican Rum. Yum!

Cost: is $6.50

Ah, Fall...and Collaborations: Wisconsin Union Theater Collaborated with University Book Store

2011-09-27T16:12:00.000-05:00

By Nina Reynolds

When I find myself in discussions about which season is best, I always end up defending autumn to the death. What’s not to love about autumn? Hot apple cider, scarves, cozy fireplace nights, pumpkin patches, football games, beautiful colors, warm boots for crunching all of those dead leaves on long walks in the crisp air…

I could go on and on.

The thing I like most about autumn, though, has more to do with a feeling I get riiiight toward the end of summer. Maybe it’s because fall has always heralded in a new school year for me for as long as I can remember, but I tend to associate fall with new beginnings. Fresh starts. A new schedule, perhaps. New goals. New plans. Pristine, untouched school supplies just waiting to be utilized with regained enthusiasm.

This year at the Wisconsin Union Theater we recognized the enthusiasm and fervor that takes hold of Madison once the streets are teeming with students again and jumped on board. We entered into a collaborative effort with The University Book Store – possibly the most-frequented business in the weeks leading up to the first day of class – to reach students (and parents) when they’re at their most eager and motivated.

Our beautiful season brochures and flyers are now available to University Book Store customers whether they’re buying The Cambridge History of Southeast Asia Part 1 for their History 474 class in the text department, or a “Bucky" t-shirt for the upcoming Badger football game upstairs. In exchange, University Bookstore flyers and coupons will be available at all of our season events – just check out the Performing Arts Committee table in the lobby! Our hope is that students will value plans to enjoy themselves at a Gaelic Storm or Sweet Honey in the Rock show alongside their plans to have an academically successful semester. After all, all work and no play is no way to live, right?

So if you find yourself in The University Book Store (711 State Street) this fall– purchasing textbooks for school, buying some red UW-Madison sweatpants for your friend’s birthday, or checking out the art supplies – make sure to look for the Wisconsin Union Theater season flyers. And get into the fall spirit! It’s never too late to add plans to visit the theater into your agenda for the year.

Terence Blanchard, Messenger Alumnus

2011-09-27T12:40:00.000-05:00

Ben Ferris
Isthmus Jazz Series Coordinator

Last year you may have caught one of Art Blakey's Jazz Messengers trumpet alumni, Brian Lynch, with the Eddie Palmieri Latin Jazz Band. Coming up on October 21st you have the chance to hear yet another, Terence Blanchard.

The Wisconsin Union Theater has hosted tons of alumni of the notoriously strict drummer and band-leader:

Wynton Marsalis, 1984. Marsalis was the messenger immediately preceding Blanchard, and led Blakey's band back into prominence with neotraditionalist jazz.

Dizzy Gillespie, 1967. Although not a "messenger," Gillespie toured and recorded with Blakey in a group called "Giants of Jazz" which also included Thelonious Monk, Sonny Stitt, Kai Winding and Al McKibbon.

Brandford Marsalis, 1990. Marsalis is further connected to Terence Blanchard in that they both played on Bill Lee's compositions for the first Spike Lee film, Do the Right Thing.

I hope that you are able to come to this concert and witness even more history being made at the Wisconsin Union Theater.

Nellie McKay: Comedienne Turned Sly Songstress with a Conscience

2011-09-27T10:41:00.000-05:00

by Alexis Brown

Marketing Intern

My mother loves Norah Jones. My middle school memories of the years before I got a driver's license are tinged with the singer’s somnambulant tunes lazily drifting through my rides home from school. I don’t blame my mother. I get it. Norah Jones is relaxing on a drive home from work. Her voice is earthy, her sound is soft, her lilting blues almost ethereal at points, and—well, kind of boring and banal.

Fellow singer-songwriter Nellie McKay, who opens for Madeleine Peyroux on Wednesday, October 12, at 8 pm, may have picked up on these sentiments when she named her debut album, “Get Away from Me” in a sly stab at Jones’ 2002 release “Come Away with Me.” Or perhaps McKay was simply sick and tired of being compared to her fellow songstress. Both vocalists came onto the music scene in the early 2000s, and their influences were similar—vocal jazz, cabaret, pre-rock Brill Building pop, and torch singing. Perhaps looming more present in the public eye, however, were the obvious similarities: they were both pretty, personable, and (no one could doubt it) they could sing.

But Nellie McKay is no Norah. While the latter has a certain lethargic charm, Nellie’s music has a spirited eccentricity that sets her apart from the pack of female singer-songwriters trying to make it with a jazz-infused aesthetic. Not that McKay is by any means only a jazz performer—she refuses to confine herself to any one genre in her music, instead incorporating an impressive stylistic variety from jazz to rap and disco to funk. At times she is touchingly nostalgic; McKay says her 2006 album, Normal as Blueberry Pie: A Tribute to Doris Day, was inspired by Day’s wholesome persona. “Her music is uncluttered, sensual and free,” McKay said of the Hollywood icon. “[It was] driven by an irrepressible will to live." And yet McKay can also be stubbornly contentious and darkly funny; she aggressively lobbied her label for a double album (rather than the 13 song release in her contract) with bottles of wine, a PowerPoint slideshow, and a mock photo of her threatening her producer Geoff Emerick with a gun.

Nellie isn’t afraid to take a stance, and her political conscience has always had a place in her music. Most recently, she wrote a song on behalf of Troy Davis, the death row inmate who was executed just this past Wednesday in spite of the mounting evidence of his wrongful conviction. McKay is also a vocal feminist, and wrote a satirical song relating to feminist issues called "Mother of Pearl." She is a proud member of PETA—her song "Columbia Is Bleeding" dealt with the issue of Columbia University's cruelty to animals. She wrote a 2004 song ("John John") about her feelings in favor of political candidate Ralph Nader, and she frequently performs at events for New York's progressive radio station WBAI, Planned Parenthood, Farm Sanctuary, and the Coalition to Ban Horse-Drawn Carriages. In short, not only can she sing, but she has something worth saying.

And this is why Nellie McKay interests me. She combines an eccentric style with a certain nostalgia that never feels maudlin, and she keeps her moral causes without ever losing her sense of humor. She is honest and interesting in a way I wish more contemporary female vocalists were.

I know my mother still likes Norah Jones. And I don’t blame her for it. But next time I’m home, I think I might play her one of Nellie McKay’s new tracks—maybe “Mother of Pearl,” or “John John”—and see if she doesn’t find something Norah’s been missing.

Passion, Performance, and Revolution: Meet Sweet Honey in the Rock

2011-09-26T22:11:00.000-05:00

Erin Bannen

Marketing Intern

On the stage, Sweet Honey in the Rock creates musical, choreographic, and emotional harmony by uniting many different voices. As it turns out, behind each voice there lies a multifaceted, multi-talented individual. Here is just a glimpse of what makes each of these performers unique. Don't miss the group's performance on October 7th, 8 pm in the Wisconsin Union Theater!

Nitanju Bolade

Nitanju Bolade Casel became a member of Sweet Honey In The Rock in 1985, after four years of studying, performing, and cultural organizing in Dakar, Senegal. As a co-founder, with Marie Guinier, of Artistes Des Echanges Africaines, she worked in alliance with local artists, the National Council of Negro Women, the University of Dakar, Television and Radio Orts, the Schomberg Center for Research and Development, and the late Dr. Ewart Guinier of Harvard University. Nitanju is also the former assistant director of the Art of Black Dance &Music, and director of Young Afrique Dance Company, both in Massachusetts.

Shirley Childress Saxton

Learning how to sign from her Deaf parents, Shirley pioneered the call for more African-American interpreters when she founded the organization BRIDGES to focus attention on Black Deaf consumers and interpreters. Shirley was also a founding member of the organization Black Deaf Advocates. The Registry of Interpreters for the Deaf published a tribute to her, entitled Shirley Childress Johnson, the Mother of Songs Sung in ASL, pointing out the distinction Shirley has brought to the field.

Shirley holds a bachelor’s degree in Deaf Education from the University of Massachusetts, Amherst. She has authored several articles on her experiences as a CODA and her work as a Sign language interpreter. Shirley’s family, sons Reginald and Deon, and sisters Maxine and Khaula all Sign.

Carol Maillard

A founding member of Sweet Honey in the Rock, Carol has performed on and off Broadway (Eubie, Don't Get God Started, Comin' Uptown, Home, It's So Nice To Be Civilized, Beehive, Forever My Darling); with the Negro Ensemble Company (Home, Zooman and the Sign, Colored Peoples Time, The Great Mac Daddy); and the New York Shakespeare Festival (Spunk, Caucasian Chalk Circle, Under Fire, A Photograph…) Her powerful rendition of Motherless Child arranged for Sweet Honey, is featured in the motion picture, THE VISIT and the Dorothy Height documentary, WE ARE NOT VANISHING.

Louise Robinson

A graduate of Howard University with a BFA, this native New Yorker's professional career began at Washington, D.C.'s Arena Stage. Louise accepted Robert Hooks’ invitation to become a member of the new, D.C. Black Repertory Company Acting Ensemble. It was out of this theater company that Louise, along with Carol Maillard. Bernice Johnson Reagon, and Mie, formed the a cappella quartet, Sweet Honey In The Rock. One of her unique roles in the group is combining her experience in theater and music to offer a workshop that explores the creative freedom in us all.

Ysaye M. Barnwell

Barnwell has written two children’s book: No Mirrors In My Nana’s House, and We Are One, both published by Harcourt, Inc. She also created an instructional boxed set: Singing in the African American Tradition. She created the Community Sing which she conducts monthly in Washington, D.C., and the workshop Building a Vocal Community® - Singing In the African American Tradition, which she has conducted on three continents, utilizing an African world view, and African American history, values, cultural and vocal traditions to work with and build community among singers and non-singers alike. She has a Ph.D. in Speech Pathology, and her pedagogy is highly respected among musicians, educators, health workers, activists, organizers, and in corporate and non-profit sectors.

Aisha Kahlil

A master teacher in voice and dance, Aisha has taught at the Institute for Contemporary Dance, The Joy of Motion, the Boston Center for the Arts, Leslie College, the Dance Place, and the D.C. Black Repertory Theatre, as well as teaching and lecturing at the University of Hawaii at Manoa, and at Maharishi International University. Aisha was voted Best Soloist by the Contemporary A Cappella Society, for her work on her composition Fulani Chant, and also for her rendition of See See Rider.

The Academy of St. Martin in the Fields Chamber Ensemble - a truly dedicated group of musicians

2011-09-26T15:53:00.000-05:00

By Lindsay Hanson

Concert Series Coordinator, WUD Performing Arts Committee

Here at the Union Theater, we are counting down the days until the opening concert of the 2011-12 Concert Series on September 30 at 7:30pm with the Academy of St. Martin in the Fields Chamber Ensemble. The legendary London-based ensemble appears at the Union Theater as the third stop on its 13-day Fall 2011 North American tour, which includes stops in California, Ontario and New York.

Founded in 1958 by Sir Neville Marriner, the Academy of St. Martin in the Fields has always been and remains committed to high-quality music making. They tour internationally and have recorded numerous albums. They are, perhaps, the most-recorded chamber orchestra in the world, having produced over 500 recordings in their 53 years of existence.

This is at least the third fall in a row that the Chamber Ensemble has toured North America, each year presenting eight to ten concerts. We are so fortunate to get the chance, in Madison, Wisconsin, to be able to hear such fine musicians!

At the theater, the Chamber Ensemble performs the Brahms G Major Sextet, Shostakovich's Prelude and Scherzo for String Octet, and Mendelssohn's E-flat Major Octet. Tickets are still available through Campus Arts Ticketing by calling (608) 265-ARTS, on our website, or in person at our Box Offices on Park Street or at Vilas Hall. Please see http://www.uniontheater.wisc.edu/location.html for details. I hope to see you there!

Read Jacob Stockinger's interview with violinist Martin Burgess of the Academy of St. Martin in the Fields Ensemble here.

What did you Think of the Madison World Music Festival?

2011-09-19T16:59:00.000-05:00

Please share your thoughts about the festival: what did you love and why? Did you use the Greyhound shuttle? How was that experience? Should we try to offer it again next year? What do you think of our collaboration with the Willy Street Fair? Or anything else you'd care to share. We're all ears!

The Best Party in Town--and Greyhound Takes You There for Free!

2011-09-11T22:37:00.014-05:00

By Alexis Brown

Marketing Intern

For the past eight years, the Wisconsin Union Theater has brought some of the world's preeminent musicians to town for the Madison World Music Festival. This year is no exception, with great music for three days and a film on Wednesday and Thursday. As in recent years, the festival is on campus Wednesday-Friday. It moves on Saturday to the Willy Street Fair's large Stage.

For downtown denizens unsure of how to get to Willy Street, Greyhound and the festival have collaborated to provide free transportation this year. On Saturday, 9/17, a Greyhound shuttle departs from Memorial Union to Willy St at 2pm, 3pm, 4pm, 5pm, 6pm, and 7pm. The shuttle returns to Memorial Union at 3:30 pm, 4:30 pm, 5:30 pm, 7:30 pm, 8:30 pm, and 9:30 pm.

While you are at Willy Street, enjoy also the fabulous food, colorful arts and crafts, ground parade and much more.

Here's the world-class line-up:

Wednesday, 9/14/11:
7 pm, Screening: “Cultures of Resistance” film, exploring how art and creativity are used in the struggle for peace and justice on five continents, with an introduction and Q &A with Dr. Jonathan Overby, host of Wisconsin Public Radio’s world music broadcast, Higher Ground. Marquee, Union South.

Thursday 9/15:
6:30, Chai Found Music Workshop, Taiwan, Wisconsin Union Theater
7 pm, Film: “Cultures of Resistance,” Play Circle
8:30 pm, Nawal, Comoros Islands, Sufi music, Wisconsin Union Theater
9 pm, Film: “Cultures of Resistance,” Play Circle
9 pm, Frigg, Finland, Memorial Union Terrace (Rain: Rathskeller)

Friday, 9/16:
5 pm, Dragon Knights, Terrace

5:30 pm, Canzoniere Grecanico Salentino, Italy, Memorial Union Terrace

7:20 pm, Dragon Knights, Wisconsin Union Theater and Terrace

7:30 pm, Chai Found Music Workshop, Taiwan, Terrace

8 pm Kutumba, Nepal, Wisconsin Union Theater

9:30 pm, Blitz the Ambassador, Ghana/US, Memorial Union Terrace

Friday, 9/16 Rain Schedule, Wisconsin Union Theater:
5 pm, Dragon Knights

5:30 pm, Canzoniere Grecanico Salentino, Italy
7 pm, Chai Found Music Workshop, Taiwan
8 pm, Dragon Knights
8:30 pm Kutumba, Nepal
10 pm, Blitz the Ambassador, Ghana/US

Saturday, Sept. 17:

Noon: workshop: “Puppetry—Big and Small” with Dragon Knights, Wisconsin Union Stage

1:45, Luisa Maita, Brazil, Madison World Music Festival at Willy St. Fair

3 pm, Dragon Knights, Madison World Music Festival at Willy St. Fair

3:30, Marco Calliari, Italy/Canada, Madison World Music Festival at Willy St. Fair

5 pm, Dragon Knights, Madison World Music Festival at Willy St. Fair

5:30, Sergent Garcia, France, Madison World Music Festival at Willy St. Fair

7:30, Bomba Estereo, Colombia, Madison World Music Festival at Willy St. Fair
9:30 pm, Sergent Garcia, France, Memorial Union Terrace (Rain: Rathskeller)

Ralph Russo: Letter to Faculty, Staff and Union Members

2011-09-09T15:31:00.000-05:00

Greetings,

The 73rd Season of the Wisconsin Union Theater is fast approaching and with it another 10 months full of great artists, beautiful music, and spectacular dance, all at very reasonable ticket prices! We invite you, our valued patrons and associates on the UW campus, to join us again this year for what we know will be another fantastic journey. Please check out this short video to get a taste of what’s coming!

For decades, the Wisconsin Union Theater has served as the vibrant innovator and purveyor of fine performing arts in the heart of campus and Madison.

Our Concert Series, in its 93rd year, is the longest, continuous-running in the Midwest, and this year our Travel Adventure Series celebrates its 53rd year. Some of the finest performers and speakers in the world have graced our historical stage, including Martin Luther King, Jr., Martha Graham, Robert Frost, Yo-Yo Ma, Uta Hagen and Louis Armstrong. This year, the Grammy-award winning trumpet player Terence Blanchard, the amazing Sweet Honey in the Rock, the “world’s best tap dancer,” Savion Glover, and the world-renowned Academy of St. Martin in the Fields Chamber Ensemble among many other exciting performers, will add to that prestigious history. As always, our stage is here for you. We not only welcome, but encourage you to share your ideas and suggestions about programming with us.

Yes, we do provide excellent programming to the campus and community-at-large, and we keep ticket prices eminently affordable! Our tickets are consistently less expensive than those in other local venues. UW students almost always pay $10 or less, and UW faculty and staff and Union members always receive additional discounts on top of our already inexpensive ticket prices. We are dedicated to providing these discounts to you year after year and we hope that you will pass on this knowledge to your students, colleagues, and friends.

Come and celebrate the Wisconsin Union Theater’s great history and bright future with us. . . and do it affordably!

See you in the theater,

Ralph Russo, Director

World Musicians Come to the Madison Stage for Free--and Greyhound Provides Free Shuttle!

2011-09-06T11:32:00.016-05:00

by Alexis Brown
Marketing Intern

For the past eight years, the Wisconsin Union Theater has brought some of the world's preeminent musicians to Dane County for the Madison World Music Festival. This year's line-up has proven to be especially impressive, including artists such as Brazil's Luisa Maita, Italy's Marco Calliari, France's Sergent Garcia, and Colombia's Bomba Estereo, all of whom perform on Saturday at the Willy Street Fair on the Madison World Music Festival Stage.

For students unsure of how to get to Willy Street from campus, Greyhound and the Wisconsin Union

Theater have collaborated to provide free transportation this year. On Saturday, 9/17, a Greyhound shuttle departs from Memorial Union to Willy St at 2pm, 3pm, 4pm, 5pm, 6pm, and 7pm. The shuttle returns to Memorial Union at 3:30 pm, 4:30 pm, 5:30 pm, 7:30 pm, 8:30 pm, 9:30 pm.

While you are at Willy Street, enjoy also the fabulous food, colorful arts and crafts, ground parade and much more. The Madison World Music Festival is presented on the Large stage while an Electronic Music/DJ stage operates from 2-9 pm too. Headlining this year's stage is East Coast West Coast legend Dr. Dunks who'll be mixing in old with the new, with plenty of disco and funk stylin'.

The all-free Madison World Music Festival starts on Saturday the 10th, with Vieux Farka Toure's warm-up concert. See the world-class line-up below:

Saturday, 9/10/11:

10 pm, Vieux Farka Toure, MWMF warm-up concert. Memorial Union Terrace. Free.

Wednesday, 9/14/11:

7 pm, Screening: “Cultures of Resistance” film, exploring how art and creativity are used in the struggle for peace and justice on five continents, with an introduction and Q & A with Dr. Jonathan Overby, host of Wisconsin Public Radio’s world music broadcast, Higher Ground. Marquee, Union South

Thursday 9/15:

6:30, Chai Found Music Workshop, Taiwan, Wisconsin Union Theater

7 pm, Film: “Cultures of Resistance,” Play Circle

8:30 pm, Nawal, Comoros Islands, Sufi music, Wisconsin Union Theater

9 pm, Film: “Cultures of Resistance,” Play Circle

9 pm, Frigg, Finland, Memorial Union Terrace (Rain: Rathskeller)

Friday, 9/16:

5 pm, Dragon Knights, Terrace

5:30 pm, Canzoniere Grecanico Salentino, Italy, Memorial Union Terrace

7:20 pm, Dragon Knights, Wisconsin Union Theater and Terrace

7:30 pm, Chai Found Music Workshop, Taiwan, Terrace

8 pm Kutumba, Nepal, Wisconsin Union Theater

9:30 pm, Blitz the Ambassador, Ghana/US, Memorial Union Terrace

Friday, 9/16 Rain Schedule, Wisconsin Union Theater:

5 pm, Dragon Knights

5:30 pm, Canzoniere Grecanico Salentino, Italy

7 pm, Chai Found Music Workshop, Taiwan

8 pm, Dragon Knights

8:30 pm Kutumba, Nepal

10 pm, Blitz the Ambassador, Ghana/US

Saturday, Sept. 17:

Noon: workshop: “Puppetry—Big and Small” with Dragon Knights, Wisconsin Union Stage

1:45, Luisa Maita, Brazil, Madison World Music Festival at Willy St. Fair

3 pm, Dragon Knights, Madison World Music Festival at Willy St. Fair

3:30, Marco Calliari, Italy/Canada, Madison World Music Festival at Willy St. Fair

5 pm, Dragon Knights, Madison World Music Festival at Willy St. Fair

5:30, Sergent Garcia, France, Madison World Music Festival at Willy St. Fair

7:30, Bomba Estereo, Colombia, Madison World Music Festival at Willy St. Fair

9:30 pm, Sergent Garcia, France, Memorial Union Terrace (Rain: Rathskeller)

An Introduction of Sorts

2011-09-01T13:13:00.000-05:00

by Shawn Werner

Director | WUD Performing Arts Committee

Hello!

I would like to make an introduction of sorts!

My name is Shawn Werner, and I am the new Director of the WUD Performing Arts Committee at the Wisconsin Union Theater. I'm a Colorado born-and-raised senior here at the University of Wisconsin, majoring in music. I suppose my interest in music performance led to my interest in arts administration, thus I'm in this position. I've always thought I would go into performance as a career, but I'm fairly certain I want to go into arts administration (music business, so to speak) now. I suppose I should mention that I have been playing the piano for a good 16 years, and I wouldn't change it for the world. I'll save you the sentimental and cliche statements as to how music frees me and is a part of who I am, even though it's true.

I wasn't the typical artsy type in high school. I never participated in choirs, musicals, or anything of that sort. However, I did perform at my high school graduation. Debussy's Sunken Cathedral Prelude, I think the piece was--it's been a while so my memory is a little fuzzy. It was cool, though, because my graduation was streamed online for those deployed in Iraq and Afghanistan; Colorado Springs is a heavily military city and so, naturally, a lot of the students in my high school were from military families. So, high school's done and over with -- why Madison?

I've always wanted to come here for a couple of reasons. I wanted to get out of Colorado to experience something new. The other part of my answer is a bit more serious and academically driven. When I became serious about university and pursuing music as a major, Madison was the first place I searched; it turned out that UW had (and still has!) one of the top music schools in the United States. The stars must have aligned when I auditioned to get into the UW School of Music because I was accepted.

But enough of classical music (since that's what I play). I do have other interests, you know.

I'm a huge sports guy, and, when it comes to professional sports, I root for mainly Colorado-based teams and one non-Coloradan team, the Pittsburgh Steelers. Yes, I know, the Packers beat them in the Super Bowl. Go ahead and rub it in, it's fine. It doesn't make me less of a fan. My favorite sport, however, is baseball. The Colorado Rockies are my team of choice, and I'll forever love them. I can talk my head off about baseball, but I won't; consider yourself lucky. What else can I tell you? Oh yes, music!

Outside of classical music, I listen to tons of other genres. I grew up listening to rap, hip-hop, and R&B, but my taste has since then expanded to every other genre except dub-step and house music. I really hate house and dub-step music. Yuck. The world would be a much better place without them. If you, the reader, is a fan of these types of music, then please don't be offended. We're all entitled to our opinions. But yes, rap, hip-hop, and R&B are near and dear to my heart, though I can jam to (almost) anything else. Now that internal interests are out of the way, I guess it would be important to mention what I'd like to do and/or go to when I graduate.

This is a question I always get: what are you going to do with your degree? Well, like I said before, I plan on going into arts administration, maybe something like an agent or theater director. Having said that, I don't plan on staying in WI for much longer after I graduate. My dream is to live in New York City, but we'll see. Until then, I want/need to move to a midsize to large city such as Denver (maybe), Chicago, Philly, Atlanta, or somewhere like that -- cultural hot spots. Logistically, I don't exactly know how to get to these places, but I'm determined to make it work. I don't quit too easily. I hate failing.

I try to stay up-to-date on cultural trends and current events and then make my own assessments of them. It's important to be open-minded but still retain your own core beliefs and convictions because these are what define you as a person and sets you apart from others (preaching to the choir much?).

So far, I've mentioned those things that relate to what I do, but not so much about who I am. It would only seem appropriate to provide this second half.

All my life, I've said (and was told) that I am very opinionated, but it wasn't until recently that I started to believe it. All too often, I hear people speak with a sense of hesitation ("I think x", "I believe y", "I feel that z"), which irritates the living you-know-what out of me. Speak with conviction, and speak as if what you're about to say is truth! Now that I got that off my chest, I would also like to say that I am, as people say, an introverted extrovert. I'm happy to be out in public among the hustle and bustle of life but at the end of the day, I have to retreat to my own place by myself to unwind. I intentionally don't have too many friends, but that doesn't mean you can't be my friend! I just don't actively seek out new people, though I probably should. Subsequently, I care deeply for those who are my friends.

There's so much more I can tell you, but I'll end it here. So, enough about me. Tell me about yourself! If you're a student and you'd like to meet me or talk about the WUD Performing Arts Committee and see how you can join, then go ahead and ask me! You can email me at werner719@gmail.com. I'd be more than happy to assist!

The Academy of St. Martin in the Fields Chamber Ensemble

2011-08-30T16:22:00.000-05:00

by Shawn Werner

Director | Performing Arts Committee

The 2011-2012 Concert Series season starts with The Academy of St. Martin in the Fields Chamber Ensemble on September 30. Comprised by members of the Academy of St. Martin in the Fields Chamber Orchestra, these performers grace our stage with a concert of Brahms G Major Sextet, Shostakovich's Prelude and Scherzo for String Octet, and Mendelssohn's beloved and famed E-flat Major Octet.

Eight years after the St. Martin in the Fields Chamber Orchestra was established, the chamber ensemble was created in 1967 from principal musicians of the orchestra. The intent was to have a larger ensemble play larger chamber works instead of having a traditional quartet with featured performers. Ever since, the ensemble has toured all around the world playing works ranging from classical compositions to 20th century music. The current members are Andrew Watkinson, Harvey de Souza, Jennifer Godson, Martin Burgess, Robert Smissen, Duncan Ferguson, Stephen Orton, and John Heley, all hailing from London, England.

These superb performers bring their expertise to offer a full orchestra-sounding program for an intimate Friday evening. The New York Times proclaims, "their gestures are flowing and demonstrative, and they brought forth a performance with the same shapeliness and zest that characterized the concertos. The orchestra produced a lovely sound, section for section, and often played with the cohesiveness of a chamber ensemble". I can't wait to see them perform!

The Brahms G Major Sextet's first ever premiere was actually on US soil, in Boston in 1866. It was written for a woman he was infatuated with at the time, Agathe von Siebold. In the first movement, bars 162-168, the notes a-g-a-d-h-e are played. Of course, in German music notation, 'h' is actually the note 'b'. Personally, I'm most excited about this piece, perhaps because Brahms is my music idol.

The Mendelssohn Octet is an impressive piece of music, composed in 1825, when Mendelssohn was only 16 years old! It was around this time that he became a serious musician and composer (he had already composed his first symphony by this time). Lush harmonies and deep melodies intertwine between registers, taking on different forms. The last movement, Presto, is certainly the most exhilarating one. Mendelssohn had a way of composing pieces that could fit well with large ensembles and orchestras and with a more intimate setup.He indicated in the score that his Octet was to be played "by all the instruments in symphonic orchestral style. Pianos and fortes must be strictly observed and more strongly emphasized than is usual in pieces of this character." Mendelssohn knew what he wanted so, I suggest that you listen to this piece in that manner. If you can imagine this performance being played by a full orchestra, then the piece is being played correctly. If not, then the chamber ensemble isn't doing something right. Fortunately, the A.S.M.F.C.E will be performing this piece, so I assure you will not be disappointed.

I implore you to attend this Friday night of splendid music that expands over 100 years.

Opening Night for 'Color by Numbers'

2011-08-27T15:45:00.000-05:00

by Ted Harks
Campus Arts Ticketing System/Data Manager

Yes, our theater opened on this night in history!

(The original photo lives in the Wisconsin Union set
of the UW Digital Collections.)

Hello, everyone. My name is Ted Harks and I work for the Wisconsin Union Theater. I manage the Campus Arts Ticketing system hardware and its collected data. I also serve on the Wisconsin Union Theater's marketing team where I am called upon to compile data relevant to our tasks at hand, and come up with ways to apply what we learn to what we are trying to achieve.

For some people (maybe even you?), just thinking about dry little facts, statistics, numbers, or lists induces yawns or sudden impulses to take naps. I can relate. I work with data every day and my eyes glaze over sometimes, too. But since I am "the data guy," we on the marketing team thought it might be fun if I regularly featured some historical and current data we find valuable and interesting for you, our readers. And my creative side couldn't be more thrilled to give this a shot.

Welcome to the debut of Color by Numbers (seen above). The subject matter of the photo felt appropriate this first feature. I hope you like what I've done with the place.


Color by Numbers will tell some of Our Story using data in playful ways.

Why Color by Numbers? I have two main goals for this feature. One: Tell some of Our Story with data samples (which often come clothed in the garb of numbers.) Two: Keep most of you awake (so I will strive to present the data du jour in colorful ways.)

What might you expect to find here in the months to come? Some of that will depend on what I and/or our team can dream up. Some may be influenced by input or suggestions from you. Please leave your comments or ideas.

One thing I have always adored about working in theater is that it is always changing, both literally on stage, as shows go up and come down, and offstage as we prepare for and wrap up each event. We are always in a state of transformation. Color by Numbers will inevitably evolve over time, too. So please stay tuned (and, hopefully, awake) for future features.

Got Kids? Bring them to our Family Savnigs Events for Cheap!

2011-08-26T14:27:00.000-05:00

Erin Bannen
Marketing Intern

When I was little I would walk out of movie theaters feeling unstoppable. My dad would throw me up on his shoulders and I felt like, if I wanted to, I could be an Irish dancer, a jazz singer, and (of course) a mermaid. I think this is a kid thing. As I got older it's been harder to get that feeling back again, that joyous, playful, powerful buzzing around your ribs that informs you quite clearly that life is a bursting adventure, and it's waiting for you.

We here at the Wisconsin Union Theater feel an intense desire to bring theater to the youth in the Madison Community. Our Family Savings Event deals are an attempt to recognize and respect how greatly theater can impact young people. We know how they can be inspired, and we want them to be.

For some of our events this coming season, tickets for up to two kids 6-18 are only $14 with the purchase of one adult ticket. Below are just a few of the events tagged for Family Savings; for more please see our order form.

Is your child a budding violinist? Be inspired by the fabulous Caroline Goulding! A 19-year-old Grammy-nominee, Goulding has already performed as a soloist with The Cleveland Orchestra, Dallas Symphony, Houston Symphony, Toronto Symphony, Detroit Symphony, Buffalo Philharmonic and the Aspen Concert Orchestra.

Have a drummer in the family? Does your family love dancing? Comedy? Don't miss Yamato, Drummers of Japan! Yamato has played to more than a million people, giving over 1,000 performances all over the world. It continues to travel with several dozen large and small drums (including an O-daiko made from a huge tree over 400 years old), displaying the instruments’ versatility and instinctive appeal.

Pilobolus and Savion Glover are great for dancers and non-dancers alike! Pilobolus is a dance theater group that has recently found a dance partner in popular band OK Go! The New York Times review of the show says the dancers were "Dressed in light-blue unitards, the dancers play atop a clear sheet of plexiglass, their antics captured by camera and projected onto a screen so that the audience watches the execution of a low-tech music video."

Also don't miss Savion Glover, the King of Tap, featured below at the White house with Bill Clinton!

Have Something to Say About the Memorial Union Renovations?

2011-08-25T13:57:00.000-05:00

Erin Bannen
Marketing Intern

The Memorial Union is a beloved Madison terasure. All you have to do is look at the Today in the Union to tell how many people this space serves. Apart from world-class theatrical performances in the Wisconsin Union Theater, the Union is a home to everything from yoga classes, sailing lessons, support groups, free access to pottery wheels, pool, bands, swimming, famous ice cream and so much more. So it makes sense that people would want a say in the upcoming renovations.

The members of the Wisconsin Union Building Project recognize that they are renovating a deeply loved building. They want to include its patrons in the upcoming renovations, and are providing a forum where their questions can be answered. So come out to The Public Forum on the Memorial Union Reinvestment Project, and come with questions!

Feelin' Good with Madeleine Peyroux

2011-08-24T13:22:00.000-05:00

Madeline Peyroux's latest album, "Standing On the Rooftop" is less than three months old, and has already picked up great reviews. The Guardian's John Fordham appreciates that Ms. Peyroux has returned to her "rougher and more worldly quality that goes back to the early jazz and blues methods she understands so well." LA Times' Mikael Wood also notes that "Despite its airy title, “Standing on the Rooftop” brings Peyroux a bit closer to Earth."

Teh album is a combination of original material and imaginative covers. says Ms. Peyroux, "I really do feel that the songs on this record are more positive, that the energy is more positive"

Some of the success of this album is certainly due to her fantastic collaborators, including Allen Toussaint, a R&B composer whose songs have been covered by Elvis Costello, The Rolling Stones, The Who, The Band, Paul McCartney, Aaron Neville, Dr. John, Jerry Garcia, Phish, Plant / Krauss and scores of others.

The October 12 Wisconsin Union Theater Concert is one of the two Midwest stops on Ms. Peyroux's tour, so be sure to check this concert out!

I ♥ the Archives

2011-08-19T15:00:00.004-05:00

Hello archive lovers!

Well, I was going to have you guess who this fellow is, but I think his signature gives it away. Can you make it out? It's John Kriza. He was one of American Ballet Theatre's best known male principal dancers.

I'm just loving those striped pants and boots. Can you guess which performance this image is from?

Bringing World Music to Madison for Free

2011-08-17T13:04:00.000-05:00

Erin Bannen
Marketing Intern

One of the coolest parts of the Madison World Music Fest's mission is to showcase the music, art, and culture of the lesser-known parts of the world. We could've just had all the bands on the Terrace and in the Wisconsin Union Theater, but that wasn't bringing it far enough into the Madison Community. So, again this year, we've got some fabulous bands performing at the Willy Street Fair. Live far away? We've got Greyhound buses shuttling from Memorial Union to the fair and back all day!

The line-up for Saturday is as good as it gets. Check it out!

1:45 pm - 3:00 pm - Luisa Maita (Brazil)
3:30 pm - 5:00 pm - Marco Calliari (Italy/Canada)
5:30 pm - 7:00 pm - Sergent Garcia (France)
7:30 pm - 9:00 pm - Bomba Estereo (Colombia)

Sultry, seductive and infused with that inimitable samba swing, the music of Luísa Maita embodies the modern spirit of Brazil. Inspired by the bustling urban life found in her native city of São Paulo, her music has a contemporary vibe with influences from alternative pop and downtempo electronic music melded with an acoustic foundation deeply rooted in samba, bossa nova and MPB. Fans of Bebel Gilberto, Céu and Seu Jorge will find much to love in Luísa Maita’s tropical, forward-looking sound, and her sensual yet soulful voice begs comparisons with everyone from Billie Holiday and Sade to Feist, St. Vincent and Cat Power. Hailing from a country overflowing with musical talent, Luísa Maita rises above the fray as one of the most promising young singers of her generation.

Marco Calliari is a singer-songwriter of Italian descent, based in Quebec. He began his career in 1989 in forming the thrash metal group Anonymus alongside Carlos Araya and brothers Daniel and Oscar Souto. Since 2003, he pursued a solo career and has so far released two albums, Che la vita and Mia dolce vita.

With his first album, Calliari found a way to reconnect with the country of origin of his parents. The album includes 14 songs based on Italian folklore and other influences such as jazz. In 2004 he won the Price Galaxy, given by the Canadian Broadcasting Corporation and was nominated at the Gala MIMI in 2005. An active member of the Italian community in Montreal, he has also participated in first two editions of Ritalfest, a festival honoring Italian music in Quebec.

Sergent Garcia, a heavyweight in the European mestizo music scene, recently released his first full-length album in five years with the groundbreaking Una y Otra Vez (Time and Time Again). A pioneer in blending the fiery Caribbean sounds of salsa, reggae, ska and dancehall with a punk attitude and continental style, Sergent Garcia's latest musical adventure finds him traveling to Colombia to dive into what is currently the epicenter of some of the world's hottest sounds. A former collaborator of Manu Chau, Una y Otra Vez marks Garcia's return to his independent roots. He will perform again at 9:30 pm on the Memorial Union Terrace.

Founded in Bogotá, Columbia in 2001, Bomba Estereo combines traditional Colombian Cumbia music with electronica. In 2010 they performed at the South by Southwest, Bonnaroo, Lovebox, and Bumbershoot festivals, as well as many other dates across Europe and the US. In 2011 they performed at Coachella. Member Simón Meíja has been nominated for a Rolex mentorship which would see him link with Brian Eno. Their song Fuego was in the background of the episode "Circle Us" on the Showtime series Dexter, during a scene outside of a club. In 2011 they performed at the VIVE LATINO in Mexico DF. Want to see some hot Colombian hip hop/rock/electronica? Don't miss this one.

Sweet Honey in the Rock and American Sign Language

2011-08-12T08:15:00.000-05:00

Not many bands have an American Sign Language Interpreter. Sweet Honey in the Rock, performing at the Wisconsin Union Theater on Oct. 7th, does. Here's why, in the words of Shirley Saxton', the band's sign language interpreter:

"A Sign Interpreter’s Song – by Shirley Childress Saxton

"The goal and responsibility of a Sign Language Interpreter is to facilitate communication between Deaf and Hearing people. This is most effectively achieved by using the language of the Deaf, which is American Sign Language (ASL).

"For many deaf people, music and singing are foreign media, and its relevance in their lives is debatable. Music is often perceived as another sound-based communication barrier, an instrument of discrimination and oppression of Hearing upon Deaf. So why would Deaf people be interested in a Sweet Honey In The Rock singing experience? Perhaps for some of the same reasons as Hearing people – to exult, celebrate, and praise God, life and living, creativity and culture; to sing the blues or discuss politics; or maybe to share a good time with family members and friends. Each Deaf (and Hearing) person “hears” Sweet Honey differently. While the vocal harmonies may not register, a poignant message can leave a memorable impression.

"The challenge of interpreting the songs of Sweet Honey In The Rock is to accurately convey the message of the songs, reflect the mood and emotional intent of the singers, and render visually the melody, harmony, and rhythm of the music. I accepted the challenge of interpreting Sweet Honey In The Rock’s message and music in 1980, after having interpreted professionally for seven years.

"Sweet Honey In The Rock had, in that year, made a commitment to making concerts accessible to the Deaf and to developing a Deaf audience. From the beginning, the group included the Sign Language Interpreter in her costuming and in the semi-circle in which she sits or stands to perform. This inclusion has been a clear statement to the Deaf audience that they’re included in the conversation.

"Each song is an expression of the self. Each has a story line and personality. For example, in Breaths, the tempo is slow; the attitude is spiritual, encouraging an open heart and mind. The first word is “Listen;” the first sign represents the concept of gaining one’s attention. …In my use of American Sign Language, the interpretation of a song is not an exact word-to-sign translation, but a full and vibrant visual depiction of the message.

"…Some songs like Fulani Chant have no words at all. Here, the interpreter is challenged to visually represent the sounds being made – a moan, a hum, a breath, a brisk wind, an ocean wave, a complex rhythm or a singer’s a cappella characterization of a musical instrument. I imagine an abstract painting using color and shape to create a picture. Thus a movement or gesture with grace or force, a fluctuation of the hand, arm, or shoulder with patterns big and small may be used in combination with verbal descriptions to help visualize the sound. Each Sign Language Interpreter will have her or his own unique interpretive style. My style tends to be fluid, loosely scripted, not static. Vocabulary and movements may change form performance to performance as the lead singer may not sing a song the same way each time it is performed.

"…As Sweet Honey In The Rock opens her mouth to sing, the Sign Language Interpreter moves her hands to sign. As the lyrics exclaim their message and as the melodies, harmonies, and rhythms are vocalized, they are paralleled by the poetry and power of the visual language of American Sign."

From Continuum: The First Songbook of Sweet Honey In The Rock (Contemporary A Cappella Publishing, 1999)

Cruising the Eastern Mediterranean, for Cheap

2011-08-11T17:04:00.000-05:00

Recession got you down? Wish you could tour Greece but don't have the cash? Join the Wisconsin Union Theater for "Cruising the Eastern Mediterranean!"

Begin with a visit to the glorious sites of Venice, and then spend a day ashore exploring the Greek Island of Ithaca, the legendary home of Ulysses. Wander through the ruins of Olympia, the site of the historic games. From there, explore the ancient temples that honor the mythical birthplace of Apollo. Learn about the history and life of Athens as you wander through modern Placa and the temples of the Acropolis. Cruise along the Turkish coast to explore ancient Troy and stop-over at Chlos, the possible birthplace of Christopher Columbus. Before heading back to Venice, dock at port Said, the enterance to the Suez Canal and embark for an overland journey to the Pyramids of Giza and the bustling city of Cairo.

Who made this fabulous film, you ask? Mary Lee and Sid Nolan have been working in the field of educational media production for over 35 years. Their companies, Academic Media Network and GlobeScope Travel Productions, create documentaries, educational materials, and specialty films for a variety of clients.

Between them, the Nolans hold advanced degrees in History, Geography, Anthropology, Journalism, and Recreational Resource Development. Their travels have taken them to every continent of the world except Antarctica.

Public Forum on the Memorial Union Reinvestment Project

2011-08-03T12:43:00.000-05:00

Tuesday, August 30th
Check Today in the Union

• Come hear about plans for the renovation of Memorial Union.
• Learn about the decision-making process to date as well as the timeline for construction.
• There will be an opportunity to ask questions following the presentation.
Submit questions ahead of time to reinvestment@union.wisc.edu, unionreinvestment.wisc.edu

A Voice from the Past: Previous Wisconsin Union Theater Director Michael Goldberg

2011-07-25T11:13:00.000-05:00

Goldberg in the Theater

We went to Michael Goldberg, the Wisconsin Union Theater's Cultural Arts Director from 1983-2003, to get his take on our upcoming season. Here are the thoughts of a theatrical powerhouse.

What artists performed at the Wisconsin Union Theater as young, new musicians and returned as accomplished ones?

I assume you are asking me to focus on “classical” musicians. The many “young artists” who performed at the Union Theater early in their careers and then went on to great renown, returning to the Wisconsin Union Theater as the stars of classical music, are almost too numerous to mention.

The excerpt below is from the Concert Series History that appears on your website:

“Pinchas Zukerman in 1968 (violin); Julian Bream, 1959 (guitar); Murray Perahia, 1971 (piano); Carter Brey, 1986 (cello) have found a receptive and supportive public before whom they could make their exciting debuts, learn and grow artistically, and later return as acknowledged stars.

Just going back to the late 1950s, 60s and 70s, to those making youthful debuts at the Wisconsin Union Theater you can add:

Emanuel Ax, piano

Dawn Upshaw, soprano

-Peter Serkin, piano
-Garrick Ohlsson, piano
-Dawn Upshaw, soprano
-Yo-Yo Ma, cello
(although Yo-Yo was always a superstar)
-Janina Fialkowska, piano
-Paul Neubauer, viola
-Christopher O’Riley, piano
-Emanuel Ax, piano
(the joke was that Manny’s first publicity shots at the WUT were his bar mitzvah photos)

All are among today’s classical superstars.
(Of course, there are plenty of non-classical stars – especially jazz artists – who appeared at the theater early in their careers.)

Tell us about the history (and the thinking behind it) of keeping tickets affordable for staff and students

For many years Wisconsin Union Directorate student programmers and committee chairs, as well as past Wisconsin Union Theater directors - Fan Taylor, Bill Dawson, Ralph Sandler, yours truly and Ralph Russo – have long understood that the Union, as the University of Wisconsin-Madison’s Division of Social Education, has a mission to enrich and contribute to the cultural and aesthetic lives of students.

UW students studying at Memorial Library

Just as courses and curricula contribute to students' academic development, a key part of fulfilling that mission is to offer students the highest quality arts and entertainment experiences at the lowest possible prices students and young people, exposed to the arts early in their lives, become the audiences of the future. Reduced ticket prices for students, the Theater Endowment Fund, direct involvement in programming and producing events – all are central to the theater and Union missions and have been from the earliest years.

Also of interest is not just the many students who, through their Union Theater experiences, grew into life-long, arts-attending ticket buyers, but the many who actually ended up in professional careers in some aspect of the arts and entertainment industry.

Is there anyone you think students might be particularly excited about this season?

Madeleine Peyroux

It’s all about the magic of live performance.

The 2011-12 season is very strong, not just on the classical series but elsewhere (I can almost guarantee electrifying performances from Terence Blanchard, Madeleine Peyroux, Yamato and Leahy).

But on the concert series, orchestras always sound fabulous in the UT - as every knows the acoustics of the space are extraordinary - so The Academy of St. Martin in the Fields Chamber Ensemble should be thrilling. And of course, the David Finckel /Wu Han/Phillip Setzer Trio (especially for students new to chamber music) will blow audiences away.

Where is She Now? Brittany Buckner Looks Back to her time in the Theater

2011-07-11T15:19:00.001-05:00

Brittany Buckner was the student director of the of the Performing Arts Committee in 2001-2003. We wanted to catch up with her and see what she's doing now. Here she is in May with husband Shawn and their daughter Zora at 2 weeks old.

What is one of your favorite memories of the Wisconsin Union Theater?
My favorite memory is Weekend Slam in 2002. As the director of the Performing Arts Committee that year, I was fond of spoken word, as were many people on campus that year. I had created the Big Mouth series, which was a regular open mic night for spoken word at the Union. It was always well attended and generated much buzz on campus, so I decided to create a bigger event called Weekend Slam, where there were several spoken word events throughout the weekend, including: a standing room only poetry slam in the Rathskaller, a viewing of the movie "Slam" starring Saul Williams, poetry workshop and live performance featuring Saul Williams.

Each event was packed full of excited people. I, along with many student volunteers, worked my butt off, but it was worth every 15 hour day. I learned how to produce an event for hundreds of people. Putting on Weekend Slam helped me discover my ability to help people enjoy the performing arts. I am ever grateful to the people, namely Michael Goldberg and my Wisconsin Union Directorate colleagues, who enabled me to learn about my strengths in this hands-on way.

What is your current job? Where do you currently live?
I currently live in Washington DC with my husband Shawn and new daughter, Zora. In my professional life, I am an education consultant for Booz Allen Hamilton, a strategy consulting firm that focuses on the Federal Government. Ten years ago, when I was at UW-Madison, I never would have imagined that I'd be working in this capacity. However, I've found a good niche within the consulting world that satisfies my interests and strengths. I design cultural curriculum for military personnel deploying to Afghanistan and other regions of the world where the Department of Defense is focused. My undergraduate degree is in cultural anthropology and my graduate degree is in education from Harvard University (2007). My work allows me to merge these two areas. In my spare time, which is slim given that I'm a new mommy, I also write creatively.

Has your experience at the Wisconsin Union Theater impacted your life since being here?
When I worked at the Union Theater, I was supported by great people who understood the importance of the arts and work ethic. People such as Michael Goldberg and Esty Dinur. Having had varied professional experience since I graduated in 2004, I understand that their support, high expectations, and passion is not to be taken for granted. From my experience as the director of the Performing Arts Committee, I will always have a standard for what makes a great work situation. I know when it's time to move on to something better professionally because I know what work should feel like, given my Union Theater experience: challenging, passionate, supported, and flexible.

Who are you excited about this season?
Next season is super hot! With Sweet Honey in the Rock, Savion Glover, and Terence Blanchard, it's hard to choose which one I'd most want to see. But, I'll tip my hat towards Terance Blanchard, just because my husband and I are fans of his work on all of Spike Lee's movies. His sound is so unique and sensual.

Interview by Erin Bannen, marketing Intern

'Tis the Season for Special Events

2011-07-07T14:45:00.000-05:00

By Nina Reynolds

I know what you're thinking. No, it's not the holiday season yet. It's not even time for Christmas in July, if that's something anyone even celebrates (I say, the more excuses to have a party the better).

No, the title of this article refers less to that jolly, "fa la la," and "deck the halls" time of the year and more to a season we can all agree is just as merry and worthy of celebration: the Wisconsin Union The ater 2011-2012 season, of course! And while you should check out all of the events coming your way, "follow me in merry measure" now to look in-depth at two of this season's Special Events.

Savion Glover

"Strike the harp . . ."

There will not be any striking of harps when Savion Glover takes the stage at the Union Theater on November 10, 2011, but I can promise striking. Of the stage floor. With the most magically rhythmic pair of feet you will encounter in your life. In fact, the "King of Tap," as Glover is often called, teaches his students not to "strike" per se, but to "hit" when they are tap dancing. "Hitting," according to Glover, refers to taking classroom moves and heavily infusing them with personal style, rhythm, and expression.

*Fun fact #1: Glover founded and teaches at HooFeRz School for Tap in Newark, New Jersey. He states: "Our Tap Dance educational curriculum recognizes that all students have the right to an arts education as a fundamental part of basic education."

A quick learner, Glover studied under tap legends like Gregory Hines, Sammy Davis Jr., and Honi Coles and made his public debut at the age of ten in the Broadway performance "The Tap Dance Kid." Although he often pays homage to the tap "greats" who inspired and encouraged him, by integrating some of their moves into his dancing, Glover's hard-hitting, bass-line-creating, hip-hop-infused, funk style, ultimately shines through in performance. Although tap dance has transformed over the years to incorporate flashy moves for entertainment -- such as "jazz hands" and "jazz smiles" -- Glover works to maintain African-rooted rhythm that is created from the waist down.

* Fun Fact #2: In addition to being a dancer and a teacher, Glover is also an actor and a choreographer.

Over the years, Glover has performed in, and choreographed for, numerous Broadway productions, films, and television shows and movies. He was the youngest person to be nominated for a Tony award, at age 15, for his appearance in the Broadway production of "Black and Blue" in 1989. In 1996, he won a Tony award for his choreography for the Broadway show, "Bring in 'Da Noise, Bring in 'Da Funk." And from 1990-1995 he made regular appearances on the kid's show Sesame Street on PBS. These are just a few of his most notable appearances, not to mention that "Mumble" in the animated film "Happy Feet" is based on him and his moves. Check out this video.

Sweet Honey in the Rock

"And join the chorus . . ."

Trust me when I say that this is not a "chorus" you want to miss. Six stunning women make up this a capella group. Bernice Johnson Reagon founded the ensemble in 1973 with singers who were participating in a workshop she was teaching at the Washington D.C. Black Repertory Theater Company. Originally a quartet, 20 individuals have lent their voices to the group over the years.

*Fun Fact #1: Carol Maillard, a current member, was one of the founding members of the group, which means she has been singing with Sweet Honey in the Rock for 38 years.

The following passage from the group's website wonderfully describes the ensemble's pertinent choice of name: "From Psalm 81:16 comes the promise to a people of being fed by honey out of the rock. Honey – an ancient substance, sweet and nurturing. Rock – an elemental strength, enduring the winds of time. The metaphor of sweet honey in the rock captures completely these African American women whose repertoire is steeped in the sacred music of the Black church, the clarion calls of the civil rights movement, and songs of the struggle for justice everywhere."

*Fun Fact #2: Two of the members of Sweet Honey in the Rock, Nitanju Casel and Aisha Kahlil, are sisters who together founded First World Productions, a cultural arts organization.

The music of Sweet Honey in the Rock is impossible to group under one genre. They incorporate Blues, spirituals, traditional gospel hymns, rap, reggae, African chants, Hip Hop, ancient lullabies, and jazz improvisation into complex, five-part harmonies. Their largely original songs make them a must-see for people of all ages and backgrounds. As for the message that the spectacular six convey? It's a social one, with many of their songs emphasizing love, equality, and understanding -- between races, between genders, between nations. Visit our website here to see a recent video of the lovely ladies singing Are We a Nation? and you'll see what I mean.

I'm going to leave you with one more fun fact about Sweet Honey in the Rock: Of the six in the group, only five sing. The sixth member, Shirley Saxton, is the group's American Sign Language interpreter. How cool is that?!

These shows are not to be missed!! Don't hesitate to get your tickets now. And keep your eyes peeled for an inside look at two more events coming your way: Madeleine Peyroux and Pilobolus.

A "Tot" and Three Establsihed ones: The 2011-2012 Concert Series Lineup

2011-06-27T15:58:00.000-05:00

Shawn Werner
Performing Arts Committee Director

The 2011-2012 Concert Series season features three established artists, and an artist who is just starting out her own history--the Grammy nominated Caroline Goulding. At just 19 years old, she has already accomplished what most will not in a lifetime.

Goulding has performed at major venues in North America, including the Lincoln Center and Le Poisson Rouge in Manhattan, and the Kennedy Center in DC; she has performed with prestigious orchestras such as the Cleveland Orchestra, and the Toronto Symphony Orchestra, and has appeared on stage with well-known artists like Bela Fleck (who is a part of the 2011-2012 Jazz Series!). Oh, and did I mention she won the Avery Fischer Career Grant a couple of months ago? No big deal, right? WRONG. She's basically set for life -- at 19 years old! She'll definitely be one for the music history textbooks.

Here's a performance of the first movement of Tartini's G minor Sonata for piano and violin (aka the Devil's Trill), and I'd advise watching the whole 8:45 minutes because she truly does bring individuality and character to the piece.

There's a full,18 minutes long, performance of the piece on YouTube, which I strongly recommend too.

The other three featured artists/ensembles have already claimed their unique cornerstones and are definitely worth mentioning. First is the Academy of St. Martin in the Fields Chamber Ensemble.

Now, ASMF (as commonly referred), an all string chamber ensemble founded by the Sir Neville Marriner, has an interesting history in that they never really were directed by a conductor. The closest thing they have to a conductor is a music director, who is now Joshua Bell. The ensemble's aim was to perform string chamber works and simultaneously boost baroque music's image in England. And thank goodness they did! They are now among the most recorded classical group anywhere. Have you ever seen the movies Amadeus, The English Patient, or Titanic? Do you remember hearing all of the classical music (strings, of course)? Yeah, that was them. And, interestingly, they also are responsible for the UEFA Champions League Anthem (for you soccer fans out there):

The point is, some of you have probably never heard of ASMF, but have definitely heard their music (it's a common syndrome in music -- I sometimes have it), and this is your chance to actually see them perform live!

Secondly, the David Finckel, Wu Han, and Philip Setzer piano trio is comprised of two Emerson String Quartet members (who have performed at the Wisconsin Union Theater in the 2009-2010 Season), cellist David Finckel and violinist Philip Setzer, and the third member of the piano trio is pianist Wu Han. Wu Han has an extremely accomplished resume, being an in-demand concert pianist and soloist, performing around the world on a regular basis with esteemed orchestras in distinguished concert halls, serving as the co-artistic director (the other being her husband, David Finckel) of The Chamber Music Society of Lincoln Center and Music@Menlo, founder of the online recording company ArtistLed , and the leader of many other classical music initiatives.

Last, but certainly not least, is pianist Peter Serkin.

Admittedly he is, often, associated with his father, Rudolf Serkin, also a very well known concert pianist. But Peter has clearly demonstrated his own classical music career, separate from his father',s and rightly so. He began playing at the age of 11 in 1958, studied and graduated from the Curtis Institute of Music in 1965, won many esteemed classical music competitions, and received an honorary doctorate from the New England Conservatory of Music (NEC) in Boston. What's interesting is that he soon stopped performing and playing for a while, and made the move to Mexico with his family. It wasn't until he heard music of JS Bach being played over the radio from a neighbor's home that he decided to again pick up playing and performing. Moving back to the US, his music career took instant fire, with him performing all around the globe with the world's most revered orchestras, in highly acclaimed music halls such as Carnegie Hall in New York City.

Though his repertoire expands over 400 years of music, Serkin is an adamant supporter of new music and has premiered many works by composers such as Wolpe and Takemitsu. He seems to be an experimentalist, too. You might've listened to some Beethoven sonatas being played on fortepianos (the pianos that Beethoven would've used) -- this practice was pioneered by Peter. And to think this was sparked by mere curiosity: "I wonder what his (Beethoven's) sonatas sounded like on the piano he composed them on?". They're really cool to listen to -- the fortepiano brings a whole new light to the sonatas that modern pianos just can't, unfortunately, do.

Going back to Peter and his father, they have performed together and, probably the most famous duet is Schubert's March in G Major, Op. 52, No. 2. Here's a performance of the piece hosted by Van Cliburn:

So there you have it -- the 2011-2012 Concert Series at the Wisconsin Union Theater. I must say that to have these performers grace us with their presence here at the Union Theater is a privilege for us. I'm incredibly excited about the upcoming season and I hope you are as well, especially about Caroline Goulding, simply because she's just starting her career. It will be awesome to say in the future something along the lines of, "I remember when Caroline was just a young tot, first starting out!". To be honest, I seriously can't wait until the Concert Series Season begins in September!

Another Blog! Jacob Stockinger's Well-Tempered Ear

2011-06-16T15:50:00.000-05:00

By Erin Bannen

We are delighted to host on our page the Well-Tempered Ear, the blog by veteran arts critic Jacob Stockinger. The blog recently topped 200,000 hits and it boasts subscribers not just throughout Wisconsin but all over the US and in many other countries. Here is an interview with Stockinger.

What has been your favorite post in the last year or so? Why?

I don’t think I have a single favorite post. I like ones that get a lot of hits and reader responses. And I like doing Q&As, which readers seem to like a lot too.

What are you particularly excited about this upcoming season?

I decided to focus this year on music education because of the federal and state cuts to education funding and the tough economy. So far, so good – readers also seem to like the emphasis. About the season at the Wisconsin Union Theater: The WUT always has good outreach and brings us great talent at affordable prices. As a pianist myself, I particularly look forward to Peter Serkin. I also love chamber music so the Academy of St. Martin in the Fields and the Pro Arte centennial commissions also excite me.

When did you start writing? What led you to this blog?

I started writing this blog on Aug. 20, 2009 with the encouragement of Ralph Russo of the Wisconsin Union Theater and after I retired from The Capital Times (but continued to teach journalism at the UW-Madison).

The idea was to pick up the slack from curtailed coverage by other media and to heighten awareness of the rich local classical music scene. So far it has been a success. I have broken 200,000 hits from all around the world. I am told that this is outstanding for a blog not connected to a newspaper or magazine. Still, I am always open to readers’ suggestions.

What is something about your blog that you wish more readers knew?

Just that they can forward links to it and subscribe to get it automatically. I would also love to hear ideas for coverage – reviews, previews, features, QAs, whatever. What do readers want to read? I think it’s a good idea just to ask them. They should know I try to answer every comment I get.

Two Other Wisconsin Theater Blogs! [Part I]

2011-06-14T16:49:00.000-05:00

Erin Bannen
Marketing Intern

To me, a blog, even a professional one, is a creative space where writers can kick around ideas and get feedback on them. I say we've got a great team of bloggers here on the Wisconsin Union Theater's student blog The Green Room. Don't believe me? Just check out our archives! But a fact you might not know is that the Wisconsin Union Theater hosts two other blogs: Jacob Stockinger's The Well Tempered Ear, and Susan Kepec's CulturalOyster.

Here's an interview with CulturalOyster's Susan Kepec:

1. What has been your favorite post in the last year or so? Why?

I don't really have a favorite post -- I don't think about them in terms of "best" or "worst." But I always especially enjoy putting together my annual Gringa's Guide to the World Music Festival. Chapter 7, for the seventh year the festival's been in existence, was posted on Sept. 22, 2010. It was my third post on CulturalOyster. Most of the previous chapters were written for Isthmus, though I wrote at least one of them directly for the Wisconsin Union Theater. I'm looking forward to Chapter 8!

2. What are you particularly excited about this upcoming season?

Dobet Gnahore

I'll be talking about that at length in an early September season preview. But there are some red-hot winners in Wisconsin Union Theater's 11-12 season. In addition to the World Music Festival, I'm absolutely thrilled about Sweet Honey in the Rock, Savion Glover, Bela Fleck, Terence Blanchard, and especially Sierra Maestra, a group I've followed since its beginnings in Havana in the mid 1970s under the direction of my friend Juan de Marcos Gonzalez, who's now the leader of the Afro-Cuban All-Stars. I'm very happy to see the Vanguard Jazz Orchestra, keepers of the Thad Jones / Mel Lewis flame, on the bill, and I'm also looking forward to the return of both Madeleine Peyroux and Dobet Gnahore. Seun Kuti's a little young and wild for my taste, but he's great anyway. So there you have my list for 11-12. And that's just for the theater. Overture has some brilliant choices for the season, too. Locally-based dance companies -- especially Li Chiao Ping Dance and Madison Ballet -- will surely serve up some interesting offerings. And music-wise, you never know who will turn up in the clubs.

3. When did you start writing? What led you to this blog?

Savion Glover

The answers to those questions are detailed in my very first post. But to be brief, I've been writing all my life, and I've been writing about the arts in Madison since the early '80s, when I was the dance writer and an arts correspondent for the Wisconsin State Journal. I contributed to Isthmus for a decade, from 2000 through 2010. I got frustrated with the increasing limitations on print journalism, including the loss of space (which meant shorter and shorter articles) and the problem of authors' rights in the digital age, so I quit. Wisconsin Union Theater's Ralph Russo and Esty Dinur wanted me to keep writing, so I accepted their offer to start a blog linked to the theater's website. It's important to point out here that I don't just write about WUT -- the idea is to cover as much about the arts in Madison as I can, given my temporal and financial constraints. As Ralph put it when I started, broad coverage lifts all boats. And that's the story of CulturalOyster.

4. What is something about your blog that you wish more readers knew?

I wish my readers knew that there's a comments box at the end of every post. C'mon, people, if you're reading my blog, let me know what you think!

We will post an interview with the Well-Tempered Ear's Jacob Stockinger soon.

What? Tickets for $10?

2011-06-13T13:33:00.000-05:00

Erin Bannen
Marketing Intern

Here's a great way to find out what college students are eating these days: hang out at the Helen C. White Library at around 1 am during finals. All you need to do is stand in the lobby and watch the delivery guys. I'd say it's about 30% Toppers, 20% Asian Kitchen, 30% Jimmy Johns, and 20% the people willing to walk to Qdoba and Chipotle, who are open 'till 2 but don't deliver.

The idea that we live in cardboard boxes to pay for food we don't know how to cook is more than a little possible.

How else do college students save money? There are the conventional things, sure. Like this video on saving on electricity costs (notice the sound of clinking dishes when he gets out of bed):

There's finding books online, kitchenware from thrift stores, and let's not forget the famed August 14th move-out day, where thousands of students switch apartments and everything from couches to kitchen sinks lie on the road, ripe for the taking.

Then you've got the less conventional students. Like the guy whose apartment I toured, who fills his bathtub with dishes instead of wasting the water to do them. Or the guy I met outside my psych class, who chooses not to wear shoes, because, "My feet are on the earth. Why would I wear shoes?"

Note: Ramen Noodle packages can double as shoes.

You might think that with college students living off of ramen noodles (that they eat dry out of the package to save on dishes, I've seen it) have nothing left for a night at the theater. Not so! Your UW Madison ID entitles you to get into any season show for $10. $10! This means that shows that go for $25, $30, $40 and more YOU GET IN FOR $10! You save the equivalent of 30 packages of Ramen Noodles!

The Wisconsin Union Theater has a dynamite season this year, and one of our chief goals is to bring cultural enrichment to the students. Come listen to the afro-beat sound of Dobet Ghanoré, the King of Tap Savion Glover, or impress a date by taking her to see violinist Caroline Goulding. We promise, we'll make your valuable $10 worth it.