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Ross's new show is an eye-popping melange of portraits, figures and landscapes executed in oil on canvas. Many are realistic, while others are in that most interesting space between realism and abstraction. Movement characterizes a group of four small, layered paintings, the Via Crucis Series, as well as the majestic, Old Master-style portrait, Abraham Sees the Angel. The latter seems to move, as if the prophet is walking toward a destination when he sees something evanescent from the corner of his eye. He half-turns his head to look more closely, and his eyes widen in wonder. A very dramatic, grand painting in rich greens and muted red, Abraham's gaze into the ineffable is memorably emotional. Ross created the four Way of the Cross paintings in the aftermath of the Thurston shootings. He captures abstract figures moving toward a crucifixion -- an upright cross is visible in one; three figures approach a tree in another; and in another, a body is brought down from a cross. It seems to be the moment just before the figures assume a pose more familiar to us from traditional art. Ross's work is not limited to classical themes. The show includes many portraits of contemporary men and women, such as the brilliant La Mama di Irene Grazidi, which won the Mayor's Choice Award in September. One of Ross's favorites is Dr. Panova (after Oreshnikov), an intense looking man dressed in white, seated against a dark background. Like much of Ross's work, this piece lends itself to narrative.
Weinstein works in acrylic, watercolor and mixed media. Her lyrical watercolor portraits, primarily of women but also a couple of men, are among her most popular pieces. Good Wine is a pensive portrait of a woman sitting next to a table on which a wine bottle and a basket of flowers rest, while Joanne and her Striped Scarf features a standing female figure in a green dress, a marvelous fringed scarf in red, blue and white falling from her shoulders. Weinstein's psychologically more complicated portraits include a terrific Self Portrait (acrylic on panel) she painted about six months ago. An extreme close-up of the artist's face, her straightforward gaze is beautifully nuanced. Likewise, Grandmother pictures Weinstein's grandmother, Rebecca, holding her as a baby, standing near a lake in New York. Based on an old photograph, this acrylic on masonite is comforting without being sentimental. Ladies Kick Ass, acrylic on canvas, perfectly captures the spirited movement of three strong, athletic and empowered women working out. In addition to the original art in the show, Weinstein also sells affordable laser prints of her work. Good show!
That's the Hult Center for the Performing Arts' Silva Concert Hall, where the Eugene Ballet Company's idiosyncratic production of The Nutcracker will be performed Thursday through Sunday, complete with live orchestra playing the Tchaikovsky score and, yes, a first act Christmas tree that in the second act is transformed into a bat and takes off in a great flapping of wings. "The Nutcracker bat tree is our new addition to the production," company artistic director Toni Pimble said. Pimble's fascination with the marriage of technology and art will have considerable impact on the company's spring season. "The Christmas tree turns around to reveal the bat, which then chases Clara around the stage," Pimble said. "The wings spring open and flap, and the three dimensional bat face is painted with ultra-violet light paint so that it glows." The major part of the design, OK'd by Disney designer Don Carson, who created the original production, was worked out by Bill Burback. Longtime Nutcracker fans will remember that three years ago Pimble decided to create a new scenario and commission a new production for the ballet that has been very much an American holiday tradition since 1954 when George Balanchine staged it for the New York City Ballet. Balanchine wasn't the first to stage it in this country -- that honor goes to William Christensen who mounted it in San Francisco with help from Balanchine and Alexandra Danilova. But since Balanchine's, very few companies have omitted the 1892 Petipa/Ivanov ballet from their repertoires. While ballet companies' lives may not depend on it, the popular family favorite and often the only ballet some people ever see draws a big enough audience to support other, less tradition-bound works on their seasons. Pimble's version is definitely geared toward children, which doesn't mean the expected elements of the ballet are in any way given short shrift. Pimble has added a prologue in Drosselmeyer's toy shop, but Act One still starts with the Christmas Eve family party in the Stahlbaum living room, complete with an old-fashioned Christmas tree and such set pieces as the Grandfather Dance. There Drosselmeyer remains the guest of honor, still performing magic tricks and entertaining the assembled company with mechanical dolls, and he still presents Clara with a Nutcracker doll which, in this story of transformation, eventually becomes the Nutcracker Prince. The guests depart, and Clara is put to bed where she is visited by mice in black-lit hoop skirts in a hint of events to come. Missing her new doll, the young girl returns to the family parlor to fetch it. Mice wielding piratical scimitars engage in a battle with toy soldiers led by the Nutcracker Prince. A pirate ship appears. As the act closes, Clara, who has saved the Nutcracker Prince, is transported through the snow kingdom, where skaters waltz and snap the whip, to the Land of the Sweets. Now the special dances, the divertissements, are performed: Spanish, Arabian, Chinese, Pulcinella and Russian. Finally, Mother Sunflower with her Lady Bugs and flowers perform a waltz. As in more traditional versions, the Sugar Plum Fairy and her Cavalier perform the Grand Pas de Deux to Tchaikowsky's soaring, romantic music. Brett Mills will alternate with Jennifer Martin as the Sugar Plum Fairy, partnered respectively by Matthew Christensen and Joshua Trader, who is new with the company this year. Stephanie Parker and Rachel Ellis will alternate in the pivotal role of Clara, who has rather more to do in Pimble's production than in some others. The spooky lights were designed by Kelly Bauman. James Ogle, artistic director and conductor of the Boise Philharmonic, will lead the orchestra. Back to Top
Lindsay quotes Jungian psychologist Clarissa Pinkola Estes, author of Women who Run with the Wolves, who says symbolism is important because it gives a voice to aspects of human experience that are unlanguagable in the usual sense. Whether we are conscious of it or not, the objects we choose are likely to symbolize our personal beliefs and attitudes. Objects that have function can be symbols too. According to Lindsay, birdbaths are often chosen as a gift for a friend who has lost a loved one. Functionally, a birdbath has a nurturing aspect. But water, unique for its existence in several different forms, is also symbolic of changing states, the passing from one form to another. Things that possessed true function in an earlier age become symbolic of the culture and values that produced them, and traditional items like these are a mainstay of Garden Artscapes. Examples span the centuries: here is a contemporary version of an Edwardian English rhubarb pot (a lidded, bottomless pot for forcing rhubarb) next to a sundial which had its origin in ancient Egypt. Glass gazing balls (also called garden globes) were wildly popular in Victorian times but are first recorded in 13th century Venice. They are supposed to fend off witches and bring good luck, but they also have a more pedestrian function. In the South, relates Lindsay, they were placed near the front gate so people sitting on the porch could see in the reflection who was approaching, and choose whether to flee indoors or be ready with a glass of iced tea. The gazing balls you'll find at Garden Artscapes are mostly of iridescent clear glass and they are beautiful. In keeping with Lindsay's liking for mythology and an old-world look are figures of Irish-born St. Fiacre, the patron saint of gardening. People flocked to Fiacre for prayers, food and healing. His miracle? When a French bishop offered him all the land he could plow in a day, he drew the point of his staff across the ground, and trees, briars, bushes and rocks tore themselves up and moved aside for his garden. We should be so lucky. Lindsay strives to sell things you won't find everywhere. A recent shopping trip to England yielded iron gates for use as trellises, vintage wheelbarrows, pig troughs and potato baskets, and galvanized "dollies" (laundry tubs with fluted sides). Approximately half the stock comes from local sources, if you include northern California and Seattle. Much of it results from collaborations with 20 artists, some working to their own designs, others in response to her ideas. The striking wrought iron arbors and some of the plant towers are made by a local metal artist. From Seattle there are graceful birdbaths in stained concrete. From an artist in California comes a brilliantly simple rendition of a quail in the same material and whimsical, chimeric creatures named Cat-Fish and Hare-Raising. This is, needless to say, a rich hunting-ground for holiday gifts. Among the smaller items, look for some pretty little birds in stained concrete, metalwork baskets in several different designs, and snails even a gardener can love. The "12 Days of December" garden art sale continues through Christmas Eve at Little Red Farm, 1020 S. 42nd St., Springfield. Fridays and Saturdays, 11 am to 4 pm; Sundays, 11 am to 3 pm. Garden Artscapes is always open by appointment. Phone 746-2228 for information.
So he asked the manager if he could read that. "The manager was accommodating. He had me read in the main lodge in front of the fireplace," says Bull. "I didn't expect anything would come of it, but lo and behold, the manager treated not only me but also my party of eight to Christmas dinner as well as ski lift tickets for the weekend." Not one to part with success, Bull decided to bring the show back to Eugene. He added musical accompaniment -- Linda Danielson on fiddle and Chico Schwall on guitar and vocals -- and for the past 17 years, the trio has been performing the show in the Cafe Soriah location during the Christmas season. The intimacy of the setting, a cozy room with just enough tables to fill it without overcrowding, adds to the ambience. 'When Ib (Hamide) took over and opened Soriah in the space, he inherited us," says Bull. Since then, he says, their relationship has been "delightful." On nights when Hamide's not too busy, Bull says he'll share stories of Christmas-time in Bethlehem where he grew up. The memories Hamide shares often include stories of how the Christmas customs in that ancient city include Jews, Muslims and Christians exchanging gifts with each other. "Unfortunately he won't tell the story every night," says Bull. A restaurant owner does want to keep his offerings fresh. Patrons come for either dinner and the show as a combo or just the show and dessert. They are treated to Celtic music first, followed by Bull's rendition of the story, which takes about half an hour. After a few minutes of audience feedback, Bull breaks out the "poppers." The foot-long novelty items that you pull 'til they pop and reveal a little gift inside are traditional in England. Many families will play with them after the Christmas dinner. The ritual "destroys the myth of English stuffiness," says Bull. A few more moments of music neatly wraps up the evening. "A Celtic Christmas," with Bull's rendition of A Child's Christmas in Wales is appropriate for adults, although older children familiar with the story may be able to sit through it. Performances usually sell out quickly, so make your reservations in advance. Performances are Dec. 14 -15, and 18-22 at 9:30 pm and Dec. 16 and 23 at 3 pm at Café Soriah. All tickets are $8. Call 342-4410 for reservations.
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