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ARTS Pick: The Battle of Chile

Half a decade of global cold war left us with no lack of dramatic subjects for documentaries. To wit, on September 11, 1973, a U.S.-backed counter-revolution and coup in Chile resulted in the assassination of the democratically elected president Salvador Allende. Chilean director Patricio Guzman chronicles the political tensions and outright violence of the events leading up to and surrounding the watershed moment in South American politics in his three-part documentary, The Battle of Chile. Random Row will screen all three parts successively, the second of which deals specifically with the assassination itself.

Tuesday 9/11. Free, 5pm. Random Row Books, 315 W. Main St. 295-2493.

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Raphael Bell previews the Charlottesville Chamber Music Festival

Now in its 13th season, the Charlottesville Chamber Music Festival has become a local institution: a fortnight’s worth of nationally and internationally renowned composers and performers sharing the most intimate and contemplative form of music stretching back through centuries of western civilization. It has been said that chamber music is a conversation amongst friends, so we spoke via e-mail with former Charlottesville resident and Charlottesville High School grad, one of the festival’s co-founders, the internationally renowned cellist Raphael Bell (via e-mail).

C-VILLE: What can newcomers to the festival expect to find? What will festival frequenters find unique or interesting about this year’s festival?

Raphael Bell: “I think the audiences that come to the Charlottesville Chamber Music Festival each year love the festival for many reasons, but mostly for the dynamic and engaging performances given by some of the most exciting and interesting musicians we know from both Europe and the USA. There is always a good mix of returning musicians that the public can look forward to hearing again, and new musicians coming for the first time. The players this year come to Charlottesville from New York, London, Paris, and Berlin, as well as Philadelphia, Cincinnati, and Seattle. The musicians always love Charlottesville and the atmosphere surrounding the Festival. They are often surprised to find an American city with such a charming Downtown, full of cafés and restaurants, bookstores and galleries.”

In its 13th year, how do you keep the festival growing?

“Having a weekday lunch concert Downtown is something we have thought about doing for a long time, and the opportunity this year seemed right with the [Celebrate!250] anniversary, where we thought we could give something back to our city and to the supportive audience in Charlottesville. I hope there will be a good turnout for it, and hope that some people who have never attended the Festival will come check us out. I think if they do, they will be pleasantly surprised by the fantastic musicians who come to Charlottesville to play.”

A free concert is likely to bring in folks who might be new to the festival or chamber music in general; what considerations did you make when choosing the program of music for the Paramount show?

“For this particular concert we found a little piece written by Mozart that was dedicated to Queen Charlotte after visiting and performing for her in London in 1764. He wrote it when he was eight years old! The program follows this with some Variations by Beethoven on a theme from Mozart’s opera “The Magic Flute”, written at the end of Mozart’s life, then a gorgeous piece by Schumann for viola and piano called Marchenbilder, and a wonderful and rarely heard piano quartet by Carl Maria von Weber.”

As an internationally touring musician, what is the process of setting up a festival like this every year? 

“I love finding pieces that the audience has never heard before, and I think it is fantastic when people come out of a concert and their favorite piece was the one from the composer they had never heard of! In this case, it’s a relatively unknown 19th century piece, but this thrill is also special when we’re talking about new pieces from contemporary composers. I think the festival has been great over the years at introducing new music, and often these performances are the ones that people continue to speak to me about years later. There is lots of great stuff to look forward to in this year’s festival, both old and new, and I can’t wait to get home and get it started.”

Charlottesville Chamber Music Festival/September 9-23/Info at www.cvillechambermusic.org

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ARTS Pick: The Madwoman Project

Hearkening back to the days of the traveling theater troupe, director and local theatrical polymath Kay Ferguson’s The Madwoman Project brings the play to you. She strips off all the unnecessary baggage for an entirely portable gypsy clown carnival, playing out its first act amid the crowds on the Downtown Mall, and parading the show back to The Haven for act two.

Thursday 9/6. Donations accepted, 6pm. Downtown Mall at Third Street and The Haven, 112 W. Market St. www.madwoman-project.org.

 

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ARTS Pick: Zammuto at The Southern

Wednesday 9/5

Workbook

Being innovative is exhausting work. Nick Zammuto could have decided that, after a prolific stint with cellist Paul de Jong as The Books, he’d coast with the street cred he got for experimenting with what he calls “collage-pop music.” Instead he takes up the loop and synth mantle with an eye towards layered sound, building the fullness and flavor of the songs—like a club sandwich you can dance to. $10-12, 9pm. The Southern Café and Music Hall, 103 S. First St. 977-5590.

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Canine performers steal the show at American Shakespeare Center

The first thing they teach you in theater school is…well, don’t go to theater school, because you won’t make any money. But, the second thing they teach you is to avoid getting on stage with a dog. And the reason has nothing to do with dogs being difficult or unpleasant; it’s just that no matter what you try to do, those adorable little creatures will steal the scene. The on-stage relationship between man and beast goes all the way back to the ancient Greeks, but the convention of man’s best friend as a character actor found purchase during the Elizabethan era of theater, right around Shakespeare’s heyday, and the Bard took full advantage of this crowd-pleasing convention in one of his earliest plays, The Two Gentlemen of Verona.

Cooper, Tulip, Gabby Gail, and  Jed (clockwise from top) have all appeared on stage. Photos: courtesy of American Shakespeare Center.

Central Virginia’s foremost Shakespeare company hasn’t shied away from the convention either. The American Shakespeare Center developed a relationship with Augusta Dog Adoptions, a volunteer-based dog fostering and adoption non-profit, for the purpose of casting well-suited pooches to perform in ASC’s production of “Two Gents” at the Blackfriars Playhouse, and if you develop an irresistible urge for ear-scratching and tummy-rubbing, you can apply to take home the hairy little thespian. This arrangement piqued our interest, so we dug a little deeper via e-mail with ASC’s Director of Education Sarah Enloe and Benjamin Curns (who plays Launce).

C-VILLE Weekly: How were the dogs auditioned?

Sarah Enloe: “ADA chooses the dogs and brings them to us.The only guidance we gave them is in asking them for adult dogs, they have chosen all of them based on their ability to work in large crowds, deal with loud noises, etc.”

What kind of training do they go through?

“They are walked around the space when they arrive. They meet the actors with whom they will have direct contact. We expose them to loud music and other noises to make sure it is not frightening to them. ADA also uses crate-training for all of their fosters, so the dog is placed in a crate between scenes for their comfort. The ADA brings us the dogs and takes care of any training before they arrive.  We have “handlers” (volunteers and interns) who meet with the dog before the performance, work with them backstage, take care of them during the show, and greet the audience.”

How long do the actor companions work with the dog to develop a relationship?

“Approximately 15 minutes to 1 hour.”

How are the relationships between the canine actor and the human actor?

Benjamin Curns: “The relationships with the dogs are generally very good, very easy-going…They have all been very loveable, very people-oriented, and not ever presenting anything that can’t be dealt with in the moment.  Some have [been] downright amazing.”

Any funny or unpredictable moments caused by working with the dogs onstage?

“Two performances ago, while complaining that my dog had no heart and that he was ‘a stone, a very pebble stone’ with no feelings at all, our gorgeous dog Cooper decided to plop his hips down to the stage and expose his belly for additional petting.  The audience roared mostly because it was adorable, but also because he was “acting” against the text and therefore making my job as Launce both harder and more hilarious.”

“At our very last performance, our rotund lab, Jed, cried a bit onstage for the first time.  It was his second performance and his second scene. It started with a small whimper and got increasingly louder.  My thought is that this was because he was not the center of attention as this scene is a quick one between Launce and the play’s other clown, Speed.  Well, ol Jed is interrupting the setups for jokes, screwing with timing, and crying before the punch lines.  After a few silent takes and reassuring pets, I finally asked Allsion Glenzer, our Speed, if she was aware about any rewrites of the script that I didn’t know about!  The audience roared, Allison giggled and Jed stopped crying.”

What are the next steps for the dogs? Where are they headed after the show closes?

Sarah Enloe: “They go to their foster homes, visit adoption events at Petsmart, hopefully people will fill out applications to adopt them. We will host a puppy event (probably October 27) to show off all of our past pups and get those who haven’t found one yet permanent homes.  Bring the kids!”

All featured dogs are available for adoption through ADA’s website: www.augustadogadoptions.org

The Two Gentlemen of Verona/Through November 23

Blackfriar’s Playhouse, Staunton www.americanshakespearecenter.com

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ARTS Pick: Black Joe Lewis and The Honeybears

Monday 9/3

Greasin’ the groove

In an age of dub step and rap versions of ’80s new wave, Black Joe Lewis and The Honeybears stand apart with gritty, funky, dirty-picking, soul-howling blues. But don’t mistake Joe’s crew for a novelty act. This band is puttin’ hands on hips, lettin’ backbones slip, and establishing themselves as protectors of the flame, traversing the path made by Howlin’ Wolf, Joe Tex, and James Brown, and providing the world with just a little more soul. $14-16, 8pm. Jefferson Theater, 110 E. Main St., Downtown Mall. 245-4980.

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ARTS Pick: Rebirth Brass Band at the Jefferson

Second lining is a tradition that stretches back through centuries, thought to have originated as the outer circle, or second line, of West African circle dances. The tradition evolved from jazz funerals to choreographed, brass band, dance party parades that are inextricably associated with the life and spirit of NOLA, the city that incubated them. Get a taste of it on our own Main Street, as the Rebirth Brass Band schools us on how to lead a proper “Second Line” parade, followed by a concert to benefit the Jefferson School African-American Heritage Center. Parade begins at 3pm, Saturday, September 1 on Hardy Drive and ends at the Jefferson Theater. www.jeffschoolheritagecenter.org.

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ARTS Pick: A Midsummer Night’s Dream

Saturday & Sunday 8/25 & 8/26

Behold the night

Theater and wine go way back. The first known festivals were held in celebration of Dionysus, and what better way to enjoy Shakespeare than on the grounds of a picturesque vineyard whilst sipping on your preferred varietal? In the intrepid fashion for which it has come to be known, the Hamner Theater is celebrating the inaugural season of its Shakespeare Winery Tour with one of the Bard’s best-loved and most famous comedies, A Midsummer Night’s Dream. Tour details are at www.hamnertheater.com. $10, 7pm. Glass House Winery, 1362 Fortunes Cove Ln., Free Union. 263-5392.