Hope, like the gleaming taper’s light, adorns and cheers our way; and still, as darker grows the night, emits a brighter ray.
– Oliver Goldsmith
The Hubble Deep Field: The Most Important Image Ever Taken
Ray Cham – HSM Song Composer – Dies
Our condolences to the family of Ray Cham. Ray was one of the songwriters for Disney’s High School Musical.
Ray Cham, 2006 Emmy-nominated Songwriter/Producer, passed away in Los Angeles on Sunday, March 4, 2007. Cham passed away from injuries sustained during a motorcycle accident. Cham was 35.
Ray Cham was described as …a great musical talent & genius, who hadn’t even begun to tap his full potential yet.
– Ron Fair, Chairman, Geffen Records
Ray Cham was co-writer with his brother for music and lyrics to “Get Your Head In the Game” – arguably the most well known song from High School Musical. He was also a 2006 Emmy Nominee for Outstanding Original Music with Getcha Head in the Game.
We are currently running High School Musical and I can tell you that the “Getcha Head in the Game” song is one that really binds the cast together. It’s a great positive message for everyone, not just kids. I think it’s every composer’s desire to create music that outlives themselves, and in that respect the Cham’s have hit a bullseye with this song. Kudos on that.
RAY CHAM is survived by his wife Alexandria Cham, two children Raymond Jr. and Romijn of Los Angeles; and his brother, Emmy-nominated co-writer Greg Cham of Los Angeles.
Born and raised in Los Angeles, CA, Ray Cham started his career in 1998 working as a musician and arranger for TLC, Aaron Hall, Morris Day, Tracy Spencer and Brandy. He was a producer, arranger, musician and songwriter, having written for Christina Aguilera, Sting, Mya , Sounds of Blackness, Miami Sound Machine, and Hoku. He developed and arranged the live shows for many artists including Toni Braxton, Kenny Loggins, Monica, Earth, Wind & Fire, Aguilera and Destiny’s Child.
Most recently he was a songwriter, producer and music supervisor for many of the Disney musicals and television shows – including the CHEETAH GIRLS and HIGH SCHOOL MUSICAL. He was a 2006 Emmy nominee for Outstanding Original Music and Lyrics for the song GET’CHA HEAD IN THE GAME that he co-wrote with his brother Emmy-nominee Greg Cham, and recording artist/composer and Emmy nominee Drew Seeley. He was music supervisor and composer for the Disney Channel film GOTTA KICK IT UP, and most recently wrote, produced and did tour arrangement for the CHEETAH GIRLS CD and tour.
Through his company Last Man Standing Inc., he was developing talent as well as writing songs for the next HIGH SCHOOL MUSICAL movie and CD, as well as developing Seeley as a solo artist. Ray Cham most recently worked with Seeley on the recent HIGH SCHOOL MUSICAL live show where Seeley was the male lead vocalist.
Memorial services will be held on TUESDAY, MARCH 13, 2007 @ 11:00 a.m.
Pre-Service @ 10:30 a.m.
Westchester Christian Church
(site of Breath of Life Seventh-day Adventist
8740 LaTijera Blvd., Westchester, CA 90045
General viewing will be held on:
MONDAY, MARCH 12, 2007 @ 4:00 p.m. – 8:00 p.m.
Holy Cross Mortuary – located at:
5835 W. Slauson Ave., Culver City, CA. 90230
Con Anima Vocal Group – St. Petersburg, Russia
Con Anima is a small ensemble of operatic vocalists from St. Petersburg, Russia. Small in number, but by no means small in sound or passion. They performed recently at my church, Mount Vernon Presbyterian Church. I could not find reviews of them online so I wanted to let you know what they are like as you consider going to one of their concerts or having them perform at your church. (Short read: They are fantastic!)
I knew that they were from St. Petersburg, that they had all graduated from the St. Petersburg Conservatory and that they were Russian Orthodox. My guess was that this was going to be very heavy, intense music – very dark and compelling to Western US ears. And it was exactly that. Con Anima has a sound that takes you on a ride through the centuries, a timeless sound.
Visit their website at Con-Anima.spb.ru and you listen to a Con Anima Vocal Sample. Their sound is even more compelling when heard live. This is a group that I don’t think any recording will ever do it justice – It’s a visual and auditory combination that will lift your mind to new heights and inspire the depths of your sould.
For our performance we only used a mic for song introductions – no sound reinforcement is really needed for this group if you have a good acoustic environment. The bass vocalist alone has more vocal power than most entire church choirs. They are accustomed to filling opera stages with sound and when you get five of them toghther, well, It’s Big!
They gave a one hour concert with a combination of Russian sacred favorites, and also a mix of Russian “gospel” and classical music. The first half was a capella and the second half a refreshing mix of piano accompaniament, solos and duets.
Con Anima does well at presenting a faith-based concert that would be equally comfortable for any denomination to experience. The power of their delivery speaks for itself with obvious dedication to the spiritual drive behind their music.
If you like early music, chamber music, Russian music or music with conviction – you will love Con Anima. In all honesty, unless you were born under a rock you will absolutely love Con Anima.
Disney HSM – Cast and Musician Photos
Disney’s High School Musical opened at McIntyre Hall on March 23, 2007 for a three week run. Here are some photos of the HSM cast and musicians in rehearsal. Full cast is almost sixty strong and the live pit band is seven musicians (and six keyboards!).
High School Musical Cast at McIntyre Hall – Warmups
HSM Cast in General Rehearsal
HSM Musicians Setting Up In Orchestra Pit
Rhythm Section Compares Notes
Conductor’s Keyboard Rig
Oscar De La Rosa – Percussion
Scott McDade – Director
Cathy Pfahl – Costume Design
Theater Arts Guild Gobo
Jann Barem and Harold Paige
50 Ways to Appreciate Your Tech Crew
Technical crews in the arts are notorious for not being appreciated. They work so hard backstage to make everything work right. If they do their job well, they are almost invisible as everything flows with effortless ease to make the cast look good on stage.
So if you’re involved in musical theater, plays, drama, music bands or anything that uses a tech crew – take time out to let them know you appreciate what they do. Because truth is, things wouldn’t look very good without them!
The Crew is all those people backstage who work so hard to make you look good. They include the guys on the fly rail, the girls who move sets on and off, the prop ladies, the Stage Manager, the guys who mike you up, the lighting guy, the people in the dressing area who help with costumes and make-up and the backstage parent volunteers.
Here are some ways to show your appreciation:
50 WAYS TO APPRECIATE YOUR TECH CREW
1. Learn their names.
2. Say “Thank you!”
3. Smile at them.
4. Bring them a cookie.
5. Clap when they enter the building.
6. Buy them a flower
7. Leave anonymous “Thank You” notes for them backstage.
8. Compose a poem extolling their contribution.
9. Give them a Starbuck’s gift certificate.
10. Slap them on the back and say “Atta boy/girl!”
11. Post a “Thank you” ad in the Personals section of the Want Ads.
12. Make them feel welcome in the Green Room.
13. Wear deodorant.
14. Decorate a personal water bottle for them.
15. Ask for their autographs.
16. Dedicate a performance to them.
17. Be respectful.
18. Bake them a cake.
19. Tell your friends and family how important the crew is to the
production.
20. Polish an apple and give it to them.
21. Tell them they’re doing a good job.
22. Share a joke with them.
23. Bring a tub of red licorice sticks to share with them.
24. Chat with them.
25. Stay out of their way when they are trying to do their job.
26. Put up a big “Thank You!” poster backstage with all their names
on it.
27. Pick up after yourself.
28. Take their picture.
29. Send them a greeting card.
30. Tell them they look good in black.
31. To the fly rail guys say “Oooo, you’re strong!”
32. Wave at them in the parking lot.
33. Give them a complimentary nickname.
34. Tell them they’re cool.
35. Offer them an Altoid.
36. Take an interest in what they do.
37. Say hi to them when you see them away from the theater.
38. Wear an “I love the Stage Crew” tee shirt.
39. Give them a McDonalds gift certificate.
40. Remember to thank them when you receive your Oscar.
41. Tell them you’ve named a goldfish after them.
42. Knit them a black sweater.
43. Ask them about their favorite backstage story.
44. Be cheerful.
45. Let them read your newspaper.
46. “Groove” with them.
47. Tell them they’re your hero.
48. Respect their “space”.
49. Tell other people nice things about them.
50. Write “Thank You” messages on a banana (peel) with a Sharpie
and give it to them.
If We Evolved From Apes – Why Do Apes Still Exist?
“If we evolved from apes, why do apes still exist?”
Recently a devout “creationist” joined one of my creation discussion forums with the proclaimed intention of finally unravelling the lie of “evolutionists”. After a full week of factless drivel I encouraged him to begin discussions on specific topics. I was very surprised that his first pick was “If we evolved from apes, why do apes still exist?”
The reasons were laid out – and here’s a simplified nutshell for you: First of all species still living are referred to as “extant”, which means still living. Second, the question is similiar to “If my cousins and I have the same great great great great great grandparents, why do I still have cousins?” or “If Americans descended from Europeans, why are there still Europeans?” Thirdly, evolution does not say we evolved from apes – Evolution states that apes and humans have a common ancestor.
The widely accepted website for evolution information is TalkOrigins.org – they have extensive archives, answers to all creationist debate points I have ever heard brought up, and the answer to this specific statement can be found here: Why Are Apes Still Alive?
Now I can understand a creationist not trusting information from talkorigins.org – after all it is essentially the “enemy” website with nothing but scientific answers to creationist debate points. I would say that to my knowledge if you are a creationist, spend a good chunk of time reading talkorigins.org and do not come away with some ideas changed – it would be fairly apparent there was no intended interest in learning.
But the problem lies here: Not only has this argument been long answered by “evolutionists” – it has now even been deprecated by the holy grail of creationist websites – AnswersInGenesis.org – Just as talkorigins.org is the widely accepted reference point for evolution information, answersingenesis.org is the widely accepted reference point for creationist information and debate points.
I have spent many hours on both websites and have come to my own conclusions based on the information presented.
Please go to the Answers In Genesis Creation Arguments Not To Use list to read it for yourself. Many of the arguments on this list I have had to suffer through in the past, with the ones stating the arguments saying I was blind to the truth and sometimes “blinded by Satan”. If your OWN TEAM says not to use an argument, then that should be pause for thought.
But the bigger point is, I have seen time and time again where the argument is not dropped until shown that the premiere creationist website says specifically the argument is flawed. The second biggest argument on the list of what NOT to use by creationists in debate is that Darwin recanted evolution on his deathbed. Again, I hear this time and time again – and when I bring up that the argument is deprecated and people can view it for themselves on their own creationist website; it seems few do.
The hesitation to look at the information clearly for what it is, and instead creating camps of “enemies” to be refuted – is a major red flag that should be examined. If you make claims that the scientific community as a whole is a coup bent on some mastermind plot – it is most likely you have adopted this belief as blanket protection for something you don’t want to look at openly.
Certainly that’s a choice individuals can make. But don’t think for a second that it is science.
FURTHER READING
http://www.catholicnews.com/data/stories/cns/0504505.htmÂ
Excerpt:
LONDON (CNS) — The theory of evolution, rather than negating the need for God, helps believers understand that God’s relationship to the universe is that of a nurturing parent, said Jesuit Father George Coyne, director of the Vatican Observatory.
But there is a “nagging fear in the church” that evolution is incompatible with a divinely planned universe and this fear has historically created “murky waters” in the church’s relationship to science, he said in an Aug. 6 article in The Tablet, an independent Catholic weekly newspaper published in London.
SNL – United Way
Skagit Opera 2007 – The Marriage of Figaro
Mount Vernon, WA (McIntyre Hall) – Skagit Opera presented Mozart’s The Marriage of Figaro February 23 to March 4, 2007. I attended the second weekend Friday performance.
I have had many people ask me what I thought of the performance. Maybe in part they think I have an extra edge in reviewing the finer details of the performance and am able to critique with some artistocratic snobbery. When I attend a concert I get lost in the performance if it’s done well, I don’t burden myself with trying to analyze the technical details. It’s only when something is not quite right that I begin to analyze what the source is. On this production of The Marriage of Figaro I was able to fully engage in the show, because there just wasn’t anything glaring that was wrong. It was all around wonderful.
I can describe Skagit Opera’s presentation in one word: FLAWLESS. It was truly incredible. No show is actually flawless, but as an audience member it was an incredible experience. When I blog about local shows I make it a point to not bring up any negative points. If I have something negative to say about a local production I keep it to myself. I want to support local arts, not tear it down. I can tell you that this is the first presentation in Skagit County where I have nothing negative to say, there is nothing I am omitting. Skagit Opera has established themselves as the real deal with lightning speed.
I was a little bummed I didn’t get to go to the pre-lecture on opening night, so it was a great bonus when Erich Parce came out at the beginning of the opera and explained many of the opera plot twists and turns. The plot does get a little complicated and his pre-show synopsis helped keep us all on the same page.
Photos by Gary Brown are available from StageImages.com
Skagit Opera chose to do this opera in English – and I saw they are currently asking for audience feedback on whether to keep the operas in English or perform them in the original language. The choices are apparent – have a show that is easily digested by modern concertgoers, or retain the beauty of the original phrasing and language as the composer intended. For my vote I’m torn on that. I love to hear the original language, to know what I am hearing is authentic. Yet as an audience member, it’s a nice change to just be able to just sit back and be entertained – to digest the opera easily as a show. I never thought I would say this – but I think I enjoy the English shows more. At least then we all know exactly when to laugh. When you hear an opera in a foreign language that’s the point when you can tell who knows the opera and who doesn’t – the people IN THE KNOW realize the exact points where they are supposed to laugh.
Dean Williamson conducted a tight, fast paced show. For as long as this opera is the orchestra and cast kept pretty tight throughout. I could always hear the vocals well over the music thanks to very subtle sound reinforcement by Jerry Fortier. Jerry’s approach is to enhance the sound just below the threshold of noticing that it’s happening. He does this transparently and does it exceedingly well with the Opera shows. The string section was nice and full thanks to Sharyn Peterson’s leadership. In other shows I have usually heard at least one instrument grossly out of tune, there was none of that in this show. Intonation with the orchestra was excellent. I was talking with a friend about this show’s orchestra and they said, “I KNOW, IT SOUNDED LIKE A BROADWAY PIT BAND!” – and I know they meant that as a high compliment to the tightness of this show’s musicians.
Acting was incredible in this Marriage of Figaro. They characters were so animated, and used their acting skills to the hilt in propelling the plot forward. Any subtle elements of the plot that may have been confusing, the actors clarified with their acting. It was like watching professional actors who also happened to sing, whereas with opera you often find great singers that leave a little to be desired in their acting. Not the case here.
Jenny Knapp was an audience favorite in her portrayal of Cherubino. It is such a funloving role, and it’s hard to imagine anyone could play it with such pixy frivolity as she did. She could have pulled it off on acting alone, but her voice was also solid as a rock and hypnotizing in the lower registers.
Matthew Hayward as The Count. I have seen him in other roles where he was the Hero, and it was fun to watch him play the villian. He made us despise him as the count just as much as he made us love him as the Hero. I’d be interested to see his career unfold and the wide variety of roles he will be able to command.
Matthew Curran (Figaro) and Jessica Milanese (Susannah) worked so well as a team with their interactive acting that I wonder if they’ve done this role pairing together before. In particular these two were champions of expressing each turn of the plot with their acting as well as vocally. One of the reasons their acting was so apparent is because you didn’t have to strain to understand their words, and they didn’t make your gut tense up when they went for the high notes. They made it appear effortless so the audience could just get lost in the plot and action. If either Matthew or Jessica happen to read this post I would be interested to know if you’ve worked as a pair before, or if you’ve done these roles before. I’m guessing you have both done these roles before, and give it a 40% chance you’ve also worked as a pair before. It was awesome!
Set design was top notch. I don’t know if the “dancing trees” are considered props or set, but they were very fun in the closing acts too. It is always amazing to me when comedy from several hundred years ago is still funny today – side-splitting funny at that!
Ok, enough gushing over how fantastic Skagit Opera is. I really need to find something wrong with them that I can critique or people will start thinking I’m a shill hired by them to give flawless reviews. SKAGIT OPERA ROCKS!!!
Skagit Opera presents
THE MARRIAGE OF FIGARO
Music by Wolfgang Amadeus Mozart
Original Italian libretto by Lorenzo da Ponte
English libretto by Ruth and Thomas Martin
Premiere: the Burgtheater, Vienna, May 1, 1786
Performed now at McIntyre Hall, Mount Vernon, WA
February 23, 25 and March 2, 4 – 2007
CAST
Figaro – Matthew Curran
The Count – Matthew Hayward
Cherubino – Jenny Knapp
Susannah – Jessica Milanese
The Countess – Mieke Rickert
Marcellina – Ellen McLain
Antonio – Daniel Oakden
Barbarina – Megan Chenovick
Don Basilio – Darrell Born
Doctor Bartolo – Ron Wohl
Don Curzio – Scott Rittenhouse
PRODUCTION CREW
Conductor – Dean Williamson
Stage Director – Erich Parce
Costumer – Carl Bronsdon
Costume Coordinator – Lynne Rittenhouse
Set – Seattle Opera
Set Designer – Curtis Wallin
Hair and Makeup – Mary Bingham
Technical Director – Bruce Weech
Stage Manager – Rebecca Heilig
Accompanists – Glenda Williams, Rhonda Kline, Andres Pelaez, Christina Siemens, Lynne Rittenhouse
Chorus Director – David Cross
Chorus Coordinator – Lynne Rheinhardt
General Director – Ron Wohl
Light Design – Steven Craig
Sound Engineer – Jerry Fortier
Light Operator – Don Willcuts
Fly Captain – Dave Mumford
Stage Crew – Damien Rocco, Quentin Griffith, Josh Herrin, Nate Young
Follow Spot – Cameron Craig, Steve Fisher
Publicity – Bill Arnett, Ellie Slabodnik, Nancy Peterson
Program – Ron Wohl
Photography – Eric Hall, Gary Brown
Lobby Display – Robert Slabodnik
Special thanks to Talisman Productions
STARRY NIGHT ORCHESTRA
1st Violins – Sharyn Peterson, Danae Otterness, Andrea Talley, George Huang
2nd Violins – Christine Wilkinson, Jessica Marshall
Violas – Rachel McGuire, Natalie Muri, Morgan Schwab
Celli – Matthew Rehfeldt, David Jones
Bass – Thomas Mayes
Percussion – Mary-Ellen Hodges
Flute 1 – Kimberly Breilein
Flute 2 – Lindsey Peterson
Harpsichord – Andres Pelaez
Oboe 1 – Jonathan Peterson
Oboe 2 – Jennifer Weeks, Kristen Gillig
Clarinet 1 – Eugene Zoro
Clarinet 2 – Kimberly Fay
Bassoon 1 – Pat Nelson
Bassoon 2 – David Strangland
Horn 1 – Robin Strangland
Horn 2 – Beverly Soler
Trumpet 1 – Malcolm Peterson
Trumpet 2 – Kipp Otterness
OPERA CHORUS
Sopranos – Lynne Rheinhardt, Ariane Brandt, Beverly Pearson, Carrie Denny
Altos – Ginny Ramey, Dani Keller, LuAnne Hargis
Basses – Gary Ramey, Dave Cross, Rod Brandt, Eric Hall
Children – Colin Rittenhouse, Paige Rittenhouse, Zoe Slabodnik, Aya Ochiai
COVER CAST
Susannah – Megan Chenovick
Figaro – Jonathan Silvia
Antonio – Erich Parce
Barbarina – Ava Trenga-Schein
Countess – Kathy Roche-Zujko
THE MARRIAGE OF FIGARO – NOTES
Le nozze di Figaro ossia la folle giornata (Trans: The Marriage [literal, Wedding] of Figaro or the Day of Madness), K. 492, is an opera buffa (comic opera) composed in 1786 by Wolfgang Amadeus Mozart, with libretto by Lorenzo da Ponte, based on a stage comedy by Pierre Beaumarchais, Le mariage de Figaro (1784). Although the play by Beaumarchais was at first banned in Vienna because it satirizes the aristocracy, the opera became one of Mozart’s most successful works. It is now regarded as a cornerstone of the standard operatic repertoire, and Opera America claims it to be the sixth most performed opera in North America. The overture is especially famous and is often played as a concert piece. The contemporary English translation is by Ruth and Thomas Martin.
I Have to Deal with Stereotypes
The first couple minutes of this is really great. Kudos to KevJumba, funny stuff.