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Arts

ARTS Pick: concorDance

Crozet-based contemporary dance company concorDance presents Tripping the Light Fantastic, a concert of playful choreography that celebrates mirth and merriment in movement. Pieces range from “Shamone,” a carousing number that conjures Bob Fosse, Michael Jackson, and Austin Powers to “Elevator Theory,” a duet that imagines love in a short ride between floors. Performances include live music by Brazilian violinist Rafael Torralvo and local percussionist Sam Cushman.

Friday 9/13 through Sunday 9/15. $10, times vary. Friday and Saturday at Albemarle Ballet Theatre, 5798 Three Notch’d Rd., Crozet. Sunday at The Haven, 112 W. Market St. 823-8888.

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Arts

Arts Pick: Summer Camp Film Series at Packard Campus Theater

Embrace the last of the lazy August days with the Summer Camp Series at the Packard Campus Theater in Culpeper. Ten movies, including two double features, will celebrate all things campy throughout the latter half of the month. From summer sleep-away comedies to sci-fi schmaltz, you can get your fill of over-the-top entertainment with silver screen gems like Swept Away, the 1979 Italian romance in which a spoiled socialite and poor deckhand are—you guessed it—swept away by ocean tides and turns of affection; Space Amoebas, which features Japanese photographers trapped on a remote Pacific Island with ”giant mutant monsters created by aliens from outer space,” and The Parent Trap, Disney’s 1998 remake of the family-friendly twins-swap-places-and-parents-don’t-notice classic. Let bone-dry humor and ginormous space blobs remind you of a simpler time, when film-watching was fun and frivolous, when camp crushes and overturned canoes were the greatest of your concerns, and when Lindsey Lohan’s adorable freckly cheeks were 100 percent silicone free. Two of our favorites to cap off the season:

Meatballs

This 1979 comedy stars Bill Murray at the height of SNL cult glory as a prank-pulling, skirt-chasing camp counselor with a heart of gold. When lonely camper Rudy (Chris Makepeace) gets rejected by his popular peers, Camp North Star’s head counselor Tripper (Murray) brings him into the fold, which includes ribald pranks, wacky hijinks, and an annual competition with rival Camp Mohawk which North Star has never won—yet.

Saturday, August 10 at 7:30PM.

Cry Baby

Catch a very funny Johnny Depp in his pre-Tonto days. John Waters wrote and directed this satirical comedy musical in 1991, spoofing Grease and the greaser trope with rock-n-roll romance set in 1950s Baltimore. High school delinquent and wannabe singer Cry Baby Jones (Depp) simply “can’t help being bad” nor charming the pants off of every girl he meets, including a good girl (Amy Locane) whose boyfriend vows revenge. Keep your eyes peeled for Iggy Pop!

Saturday, August 24 at 7:30PM. Part of a Double Feature with Johnny Dangerously.

Click here for full schedule.

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Arts

Heritage Theatre Festival’s Red depicts an artist in turmoil

The year is 1958, and abstract expressionist painter Mark Rothko sits in a chair in his New York studio, smoking a cigarette and considering the audience. Or rather an invisible canvas that hangs between us.

Aside from a coffee pot, a phonograph, and scotch, every surface is dedicated to artistic detritus. Rusty buckets, stained drop cloths, packets of pigment—even the wide wooden floor wears splatters of paint. Rothko’s iconic red-and-black works hang on the wall like a bloody landscape behind him.

Thinking is a major part of Rothko’s process, and he’s hard at work on the largest commission in the history of modern art: $35,000 of giant murals for the Four Seasons Restaurant in the new Seagram Building. But when Rothko’s brand-new, 20 something apprentice Ken creeps onstage, he doesn’t get a chance to speak.

“What do you see?” Rothko demands, and his pompous inability to let a word in edgewise kicks off the unexpected Laurel-and-Hardy-eqsue humor that makes Heritage Theatre Festival’s production of Red both smart and enormously entertaining.

John Logan’s bio-drama, the 2010 Tony Award winner for best play, tells the story of a notoriously pretentious artist facing the fact that he may have sold out. The script is quick and intelligent and requires no art history training, though viewers unfamiliar with Rothko may want to Wiki his famous works before watching.

Betsy Rudelich Tucker’s wise direction means that Red entertains, never alienates, for the whole of its two-hours-sans-intermission performance. Despite the fact that it features only two actors, Heritage’s production fills the new 300-seat Ruth Caplin Theatre with energetic performances and the movement of light, music, and liquid paint. Designers R. Lee Kennedy, Richard L. Sprecker, and Tricia Emlet do more than bring this show to life; they help us believe in the meta-promise of the show. When Rothko rages at Ken “Of course you like it—how can you not like it?! Everyone likes everything nowadays.… Where’s the discernment? Where’s the arbitration that separates what I like from what I respect?” we see his eyes flash at us, peering through the fourth wall, and believe that perhaps we should be more discerning.

Tom Bloom’s scene design gives Nick Ferrucci (Ken) plenty of ways to stay intern-busy, and the talented actor physically pulses Red’s heart. As he stretches canvases, hoists frames, rearranges sawhorses and mounts and supply carts on casters to suit Rothko’s whims, Ken tethers us to the outside world, and we cheer his maturation from vague smiles to incisive declarations. His hope and idealism trump grunt work and poverty; his painful past suffers him less than the wounds that great art inflicts on his mentor.

As Rothko, Gregg Lloyd works the emotional spectrum and achieves a fine balance between tortured artist and cranky uncle. (I kept waiting for him to yell “Get off my lawn!”) His attitude is often laugh-out-loud funny, probably because we don’t spend two years cleaning his brushes and ingesting his solipsistic bombast. And we never lose sympathy for the show’s antagonist. Lloyd makes us believe that Rothko knew his worldview touched on megalomania, that his resilience of spirit, not inherent wisdom, propelled his rise to greatness.

In Red, Rothko relies on his paintings like the Wizard of Oz relies on his smokescreen; they are silent supporters of his larger-than-life passion, the manifestations of a personal mythology that can single-handedly save the world.

If you think that sounds pretentious, you’re not the only one. Ken calls Rothko out on his many hypocrisies, from demanding attention but not noticing others to lambasting Ken’s reduction of Nietzsche, then using Freudian proofs of Ken’s raison d’etre.

Despite these hilarious moments of come-uppance, Rothko continues to shake his fist at Pop Art and humor and Andy Warhol. He’s a student of World War II and primitive, child-like impulse. He equates bright colors and pixelated graphics with the superfluous indulgence of contemporary culture.

Each generation plays witness to the angst of their forebears, but there is something deep and moving about Logan’s Rothko. His dedication to tragedy is sincere. He wants to use art to blow viewers’ minds wide open, to break through “a smirking nation living under the tyranny of fine.”

“We’re not fine,” he yells, and he’s got a point, though his own life reveals another cruel master—the brilliant mind, churning, whiling away hours in search of connection that never comes. Tangling intellect and emotion, reason and passion, black and red on every canvas, something’s not fine, that much is for certain. The what can only be answered by you, the viewer, for whom these paintings, and this excellent show, will pulsate the longer you look at them.

 

Red, Ruth Caplin Theatre, Through July 13.

 

 

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Arts

Live Arts hits home and heart with full force in August: Osage County

Beverly Weston, aging poet and professor, sits among overstuffed bookshelves and reflects on the sum of his life: a marriage bound by whiskey and pills, a career lost in the shadows of tortured art. He quotes T.S. Eliot—“life is very long”—to his newly hired, live-in housekeeper, a young Cheyenne woman named Johnna, and admits it could be worse. “The place isn’t in such bad shape, not yet,” he says. “I’ve done all right. I’ve managed. And just last night, I burned an awful lot of…debris.”

When Bev goes missing a few weeks later, his drug-addled wife, Violet, calls their children—three adult daughters: Ivy, Barbara, and Karen—to bring husbands and boyfriends back to Oklahoma and comfort her as she waits. In rooms so warm pet birds can’t survive, Violet offers hilariously backhanded compliments before tearing her offspring apart. She’s a matriarch who was born into physical violence and has grown as tough as the dust-covered Plains, and her cruelty is the star around which family revolves until Daddy comes home or they all kill each other, whichever pseudo-redemption comes first.

Tracy Letts’ August: Osage County is a massive, muscular show, and Live Arts’ production (through June 8) serves it on the thin line between comedy and bloodbath. It’s no small feat to manage three acts in three hours (that somehow only feel like two), and the cast, crew, and Artistic Director Julie Hamberg deserve applause for bringing this kind of theater to Charlottesville.

The Weston house, which fills the entirety of the Live Arts’ Gibson (formerly DownStage) Theater, is a marvel of set design. Johnna’s attic bedroom brushes the highest point in the room, suspended above a second-floor hallway and an office, kitchen, and split-story living room shrouded with weariness. A white wall wears a patch of yellow from years of sweaty handprints; slouched shelves and loaded trash cans speak volumes of neglect. Even the two flights of stairs that Violet descends in her stumbling, downer-fueled highs appear solid as a rock. It’s this quality of execution—from set and sound and lighting design to the show’s many flawless performances—that allows August to elevate local, volunteer theater to a distinctly professional level. You could pay a premium to see the show elsewhere, but Live Arts hits as hard as Broadway. (Trust me. I saw it there, too.)

As Beverly Weston, Bill Rough is magnetic. To misquote producer and dramaturg Victoria Brown, his tempered presence and muttered poetry permeate the show like cigarette smoke. In his absence, matriarch Violet (Kate Monaghan) and middle daughter Barbara (Boomie Pedersen), ignite the stage and each other. Monaghan is equal parts tender and cruel, doddering when drugged and vicious when lucid, and my heart aches for her even as it recoils. She’s less terrifying than Deanna Dunagan, the Violet of Chicago and Broadway fame, and it’s a choice that serves Live Arts’ intimate setting. Pedersen brings an edge of drama to Barbara that raises the stakes from the beginning of her visit to Pawhuska. As husband Bill, Larry Goldstein is sweet, yet exasperated, eager to remind us that life does exist elsewhere, that escape may actually still be an option. Annie McElroy wears 14-year-old Jean with admirable insouciance; her pot-smoking nonchalance contextualizes the show better than any other element. Except, perhaps, for Johnna, the housekeeper whose radiant warmth, sensitivity, and dedication to cooking are wasted on the Westons. With a small curve of her lip or clear-eyed song, Christina Ball becomes larger than the house she maintains, larger than the people who live in it, and her enduring presence inspires sorrow, too. (As Barbara puts it when staring out at the Plains: “we fucked the Indians for this?”)

But then comes the humor: as Mattie Fae, Violet’s sister, Geri Schirmer is giggle-inducing, and Leo Arico plays her husband Charlie as an open book, a deceit-free foil to everyone else in the show. Little Charles (Scott Dunn) is sentimental but hopeful, and Mary Coy and Lisa Grant, as Violet’s eldest and youngest daughters, bring laughter and a notion of romance that’s as inspiring as it is twisted. I tip my hat to director Fran Smith especially; her vision, orchestration, and excellent pacing allow black humor to crackle across every scene. In a show where tensions run high and long, relieving her audience of our stifled desire to burst under the pressure.

When I first saw August—when it was new on Broadway, after it won Tony and Critics’ Circle Awards and the Pulitzer Prize for Drama—I left the theater feeling sick to my stomach. I’m a sensitive girl who loves her family, and Letts’ story is a potent reminder that vulnerability begs evisceration. It’s time for truth-telling, Violet might say. Better hold on to your hats.

August raises questions we don’t want to answer. For everything wrong with “the Weston girls,” do we all harbor bitterness of family as a unit? Or do we wish for something we never had after betting our lives on the American Dream? Barbara recalls her father’s sorrow-filled voice as he spoke about his homeland: “As if it was too late. As if it was already over. And no one saw it go. This country, this experiment, America, this hubris: what a lament, if no one saw it go.” August raises the questions, but we’re left to wonder.

Even if we long for our mothers at moments on this wild ride, we hold on tight and open our eyes because the conflicts are so honest, so achingly true. “I don’t know what it says about me that I have a greater affinity with the damaged,” Bev says. “Probably nothing good.” Probably, Bev, but at least in this case, we are right there with you.

 

 

 

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Arts

We cannot live without books: Festival hosts 200+ events over five days

For many, the notion of literary endeavor evokes isolation and a dash of depression, the image of a lonely writer drinking Scotch in a frozen garret, warming herself with a burning manuscript. Though I can’t promise that those things never happen—say, in the course of writing a newspaper article—this year’s Festival of the Book turns such stereotypes on their heads. Hosted by the Virginia Foundation for the Humanities, these five days of literary celebration (beginning March 20) will draw more than 20,000 attendees. According to Rob Vaughan, president of the VFH, “it’s the largest festival east of the Mississippi, if not the country.”

Since its inception, the Festival has grown from 55 to 210 programs, most of which are free and open to the public. Ninety-four fiction and 235 non-fiction authors will discuss subjects ranging from romance to art, memoir to aging, fantasy to family to literacy and leadership. Twenty-six professional poets will share insights and readings, and 30 participants from the publishing field will give practical advice to aspiring writers. Check out the highlights below, and build your own “book bag” personalized schedule at vabook.org.

For visionaries 

On Saturday, March 23 at 8pm at the Paramount, see two American icons in conversation: The Honorable John Lewis (D-GA) was a Freedom Rider and a founder of the Student Nonviolent Coordinating Committee, and 1968 Olympian Dr. John Carlos made history when he and fellow Olympian Tommie Smith gave the black power salute on the winners’ podium. They will discuss how vision and action can change the world.

For sports lovers

If you love athletics as much as you love books, don’t miss Sports Night at the Paramount. Panelists include 50-year Sports Illustrated veteran and multi-genre author Frank Deford, former Washington Post sports and feature writer Jane Leavy, political sportswriter Dave Zirin, moderator and author of Summer of ’68: The Season That Changed Baseball Tim Wendel, and Charlottesville’s own John Grisham.

For kids

“Kids get really excited during the Festival,” said Susan Coleman, director of the Virginia Center for the Book. StoryFest!, a series that caters to youth, includes a kids’ book swap, live animal viewing, empowerment workshops, and plenty of readings, including 40 in-school events. Eric Wight, whose graphic novel Frankie Pickle and the Closet of Doom is a nominee for the Virginia reader’s choice list, will bridge the gap between adults and children with his lectures at the Omni Hotel and middle schools around the city. “The point I focus on most in my workshops is that we are all creative,” he said. “Anyone can create stories.”

For thrillseekers

Suspense lovers are in for a treat with Crime Wave, a series of genre-specific panels including Murder in the Name of God, Who Knew This Work Could Be So Dangerous? and Friday Night Thrillers. Even if thrillers aren’t your thing, don’t be afraid to stop by. As Ed Falco, Scenes of the Crime panelist and author of cinematic Mario Puzio-inspired The Family Corleone, explains: “good novels are good novels regardless of genre.”

For truthseekers

Of the festival’s myriad non-fiction topics, one of the hottest will be Thomas Jefferson. This is Charlottesville, after all. Three separate programs focus on T.J., including Jefferson’s Legacies with Henry Wiencek and John Ragosta (Friday at 4pm at CitySpace). Wiencek’s Master of the Mountain: Thomas Jefferson and His Slaves received much attention for its highly-charged topic. “There was so much about Jefferson I didn’t understand,” Wiencek said. “There’s a saying among authors, ‘I write to find out.’”

For lovers of verse

Current U.S. Poet Laureate Natasha Trethewey first read at the festival in 2000, alongside then-Poet Laureate Rita Dove. “It was the first time I’d gotten to spend any time with a poet whose work was deeply important to me,” Trethewey said in an interview with Kevin McFadden, COO of the VFH. “My father, who is also a poet, was in the audience, beaming.” Relive the moment on Saturday at 2pm at the Jefferson School African American Heritage Center, when Trethewey will read from her latest book, Thrall.

For party hoppers

Kick off your literary weekend with opening ceremonies that include winners of the Letters about Literature competition and The Hook short story contest. At 6pm that night, winners of the Bus Lines Community Poetry series will read at the Downtown transit center, and Thursday offers more local talent: Verbs & Vibes Open Mic (7pm, Student Bookstore) and Big Blue Door, a night of true stories on the theme of books (8pm, The Bridge PAI). On Friday, trade happy hour for a literary soiree. At the Sweet Reads Reception, parents and kids can eat dessert with festival authors (6pm, Charlottesville Catholic School), and at the Emily Dickinson After Party, Paul Legault will trade verse with Dickinson herself, then deejay a night of dancing (8pm, The Bridge PAI).

For writers

Saturday at the Omni Hotel is Publishing Day, a series of seminars for writers that includes Promoting the Smart Way, How to Make Writing Pay, and Creating a Great Writing Group. Writers will critique audience submissions in How to Hook an Editor on the First Page. Perennial favorite Agents Roundtable returns, along with Digital Publishing for Your Book and Digital Publishing in 2013 with Jen Talty of Cool Gus Publishing and Jon Fine, director of author and publisher relations at Amazon.com.

Virginia Festival of the Book/Various locations/March 20-24

 

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Arts

Good buzz: In The Next Room (or The Vibrator Play)

Onstage, a fine-featured woman removes her skirt, collapses her bustle, and adjusts the corset nipping her waist. Her hands are pale and flighty as she sits on the doctor’s bench and pulls a medical drape up to her chin. Diagnosed with hysteria, a Victorian umbrella term for ailments including headaches, light sensitivity, and predisposition to tears, Mrs. Sabrina Daldry reclines only when the nurse pushes her shoulders backward.

Flush with the thrill of domestic electricity, Dr. Givings reveals a mechanical wand with which he will administer “pelvic massage via mechanical manipulation.” A flipped switch, a high-pitched buzz, a fumbling, jerky prod beneath sheets—and we, silent voyeurs, watch Sabrina grimace, flinch and exclaim to God with the strength of her medically-induced orgasm.

Almost immediately, she begins to cry. The concerned doctor reanimates his vibrator. “Please,” she weeps, “don’t do it again. It—hurts.”

In an instant, we’re ambushed. Even as the scene gets funnier, as Sabrina redefines pain as pleasure and agrees to return for daily treatments, we linger on the familiarity of her reaction—our fear of desire and its sterile handling, the vulnerability that comes with letting go. Check your vapors at the door, because Live Arts’s production of In the Next Room (or the Vibrator Play) is not for the faint of heart.

Written by Broadway darling Sarah Ruhl and nominated for three Tony Awards, the show explores sexuality and satisfaction, motherhood and marriage, the limitations of science and the limits of love. Live Arts’s version is funny and sharp, featuring several well-articulated orgasms and a vibrator shaped like a drill. It’s an edgy choice for local theater, and C’ville should count its blessings—this production is one of the best I’ve seen in a very long time.

Set in two adjacent suites of a prosperous Victorian household, In the Next Room follows the parallel lives of Dr. and Mrs. Catherine Givings. As the doctor treats patients with his office door closed, Catherine watches a wet nurse feed her newborn, grappling with mother guilt as strange sounds leak through the wall. Eventually she begs Sabrina to show her the electric device—to demonstrate how to treat the hysteria her husband refuses to diagnose in his wife. But, as both women quickly discover, pelvic massage via mechanical manipulation cannot cure an absence of emotional intimacy.

As Dr. Givings, Bill LeSueur  (C-VILLE Weekly Art Director) is sincere and unapologetic, a man of science whose preoccupation with “paroxysm” is both earnest and refreshingly innocent. As his free-spirited wife, Catherine (Melissa Charles) is a fast-talking foil to his scientific deliberations. She’s enthusiastic, anxious, and consistently vulnerable, tantalizing the sympathy-starved Mr. Daldry (Kurt Vogelsang) and overwhelming artist Leo Irving (William Smith), a dandy who serves as comic relief and prefers the torture of exotic love to its homestead counterpart.

Despite multiple on-stage orgasms, Sarah Elizabeth Edwards plays Sabrina with dark-hued restraint, a picture of Victorian decorum whose passion reveals itself in flickers, brief looks and gestures. Katelyn Sack’s Annie is likewise dedicated to decorum; she seems resigned to heartache even as she makes bold moves against it. As Elizabeth, the wet nurse grieving the loss of her own child, Sharon Millner is firm and truthful, offering reactions that sometimes speak for the audience.

Double entendre and puns abound—this is a comedy, after all—but the show’s director (and Live Arts’ artistic director) Julie Hamberg understands that the show hangs on the strength of its fourth wall. She nurtures dramatic irony, a spirit of restrained authenticity, and this allows the story to come to life. Actors do not acknowledge the script’s puns, do not aggravate the awkward silences. No one indulges in a wink-wink-nudge—and wisely, because doing so would make the script cheap and uncomfortable. Avoiding the shallows of schtick and easy laughs, Hamberg leads us to deeper currents.

Ultimately, the success of In the Next Room leans on emotional truths that transcend the 1880s. While no single theme is explored in great detail—the script takes on too many ideas to delve very deeply—I guarantee you’ll be moved by one of them. Mark the clever metaphors of candles versus lightbulbs, precipitation versus preparation. Wonder if technology can replace human touch.

If you approach the show with a Freudian eye, you’ll no doubt find what you’re looking for. But may I suggest you relax your analysis, your text- or tweet-length commentary. Mrs. Daldry isn’t the only one squirming beneath the sheets, struggling to name what she truly desires. Go to the show and silence your cell phone—you might see yourself on the stage.

Through March 23/In the Next Room or The Vibrator Play/ Live Arts

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Living

Finding Common Ground for everyone at the new Jefferson School City Center

On January 1, one week before the Jefferson School City Center opened, I stood in front of the building’s main doors and rattled them in vain. I’d hoped to slip inside and sneak a preview of Common Ground Healing Arts, the affordable-rate holistic health studio nestled on the community center’s second floor. Instead I stared at its wide-paned windows, at reflections of clouds slipping past.

In a city where holistic health services are often prohibitively expensive, Common Ground offers affordable massage, acupuncture, and meditation and yoga classes.

I called Kate Hallahan Zuckerman, the executive director of Common Ground, to ask her what I missed. “There’s a chalkboard on the wall from the old classroom,” she told me. “The acupuncture lounge is where the library of the Jefferson School used to be. Original hardwood floors, lots of natural light, but very private because we’re on the second floor.”

I sighed.

“All our services are priced on a four-tier sliding scale,” she continued. “People come in and self-identify. They don’t have to show documents to prove anything. It’s an honor system, so people essentially pay what they can. Just come with an open mind.” No matter what their familiarity with yoga or what neighborhood they’re from, visitors are welcomed warmly “and treated like a human being.”

Visitors are also encouraged to call and ask questions about which practices might best fit their needs. Unlike many studios in town, Common Ground has a customer service staff available six days a week, and five of the seven staff members also speak Spanish.

Zuckerman hopes the availability of different services encourages cross-pollination. “Someone’s doctor might refer them because we offer affordable acupuncture to help headaches, for example, then they might come in and say, ‘Oh, there’s also offer yoga for cardiovascular health and high blood pressure, and that’s part of the reason why I have a headache.’”

At their core, Common Ground’s services all reduce stress. They lower cortisol levels and increase activity in the parasympathetic nervous system, which calms and regulates breathing and helps immune and endocrine systems function optimally.

Dr. Greg Gelburd of Downtown Family Health Care recommends these treatments regularly. “Complementary medicine has a twofold effect—it helps treat illness or disease, and it helps keep people healthy.” Other physicians, he said, tend to focus on medical school solutions like medicine and surgeries, but “Common Ground offers things that are safer and sometimes even better.”

Gelburd, who is an advisor to the Common Ground board, explained that patients with stress-induced neck pain often need to learn how to stretch and relax on their own, and many anxiety- or allergy-stricken patients can be treated with massage or acupuncture. The problem, he told me, is cost—most East Coast insurance companies won’t cover complementary treatments. “A person that I was talking to earlier tonight owns a small business here in town. She doesn’t have insurance, and she really needs some acupuncture and massage for anxiety. She didn’t know she had anxiety. She thought she might have had breathing problems, but she was actually hyperventilating.”

This is the gap Common Ground plans to bridge. “It’s in the neighborhood, within walking distance, of people who could really benefit from complementary medicine,” Gelberd said, “in part because they’ve barely heard of it. Maybe they’ve seen yoga on television, but they don’t have the money to join a club like ACAC or Bikram Yoga or any of the other wonderful yoga studios in town.”

Five years from now, Zuckerman hopes, Common Ground’s visitor demographics will reflect those of the city: 19 percent African American, 22 percent below the poverty line, and so on. She knows the challenges they face, including the fact that “a lot of people in lower income or non-white communities feel that yoga is just for rich white people. That’s something we’ve come across in our outreach programs.”

In 2009, Zuckerman founded Guerilla Yoga, a series of pay-what-you-can yoga classes held in nontraditional spaces. Teachers brought yoga across the area, to Crozet, Scottsville, even the Fluvanna County Women’s Correctional Facility. “We taught classes across the socio-economic spectrum,” Zuckerman said, “and demonstrated that on a smaller level, this idea works.”

In 2011, with a grant from the BAMA Works Fund, Guerilla Yoga began offering free massages twice a week at the Westhaven Clinic in the Starr Hill neighborhood. “Within a couple of weeks, the residents came to us and said, ‘Hey can you do this every week? We want to tell our friends, our sisters and parents—we want to tell more people because it’s really helping us reduce stress.’”

“Citizens of Westhaven or Friendship Court may not understand what complementary medicine is,” said Gelburd, who works in Friendship Court, “but they certainly know a good massage when they have one.” The change in perspective comes, he said, when patients realize that someone will focus on them for 15 or 30 minutes, and their only intention is to make them feel better. “Those warm hands on their muscles are a sign that someone cares. It’s a gentle non-threatening feeling, and it restores a lot of calmness to people.”

JABA CEO and Common Ground board member Gordon Walker agrees. His nonprofit routinely offers chair massages and yoga classes for its adult day care center and staff. “What our community has been doing internally,” he said, “Common Ground is going to be doing externally.”

JABA, which hosts the Vinegar Hill Café in the Jefferson School City Center, appreciates its Common Ground neighbors. “I think we’ll be better able to realize our goals because of the community we’ll create within the walls of this building,” Walker said. “One of the beauties of Jefferson School is that as a whole we will realize more than the sum of our individual parts.”

The holistic approach permeates every aspect of Common Ground. It heals physical ailments, Zuckerman explained, but it also strengthens connections between individuals. “Yoga is based on the premise that we’re all interconnected—that essentially, we’re all one. That can be kind of woo-woo New Age-y, or that can be very real. On a molecular level we’re all made of the same stuff.” It challenges our habits and preconceived notions, she said, to come into contact with community members we normally never see.

“If you think about a yoga class, the real growth takes place in a pose at the edge of discomfort. You don’t ever want to go over the edge—you don’t ever want to hurt yourself or be in pain—but at the same time you want to be a little uncomfortable. Yoga asks us to be constantly evaluating, so we’re moving out of patterns and into a more open space.”

When I spoke to Gelburd, I mentioned this newness, the sense of heightened awareness that followed my own experience with pay-what-you-can yoga. I used to live on the Jersey Shore, I said, and my first few classes—sweaty, awkward, unbalanced—opened the door for a series of serendipitous meetings and clear-minded decisions that shaped the path of my life. If it hadn’t been for those classes, I said, I wouldn’t be in Charlottesville.

“If we keep our eyes and our hearts open, we will be surprised,” he said.

Zuckerman put it another way. “Whenever we come into contact with others—with the Other, if you know what I mean—it makes us work that edge of what’s comfortable and uncomfortable.” She took a breath. “That’s the driving impetus behind the whole project: to get people into those places that are a little bit uncomfortable and ideally they expand. They open. They experience something new and experience themselves in a new way.”

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Arts

On the clock: Whole Theater leads a 24-hour blitz to benefit Live Arts

“My third year, when I was directing, I ate nothing but M&Ms and drank nothing but apple cider,” said Jigsaw Jones, raising his eyebrows. “Between twelve hours of directing and drinking during both performances—well, I got kidney stones.”

The playwright and actor laughs. Sleeplessness, sweat, and the odd kidney stone sound par for the course during 24/7, a 24-hour theater festival in which seven ten-minute plays are written, rehearsed, and performed twice for live audiences in Charlottesville. Hosted by Whole Theater and benefitting Live Arts, this year’s show opens on January 19, and closes the same night. Fifty-eight volunteers have committed their talents to the artistic unknown, bound to create fearlessly—or at least fast.

“I was somewhat terrified,” said Ed Warwick, an actor who, prior to his 2012 role as a 24/7 playwright, had never written a play before. ”My fiancé told me, ‘Ray [Nedzel, the show’s founder and artistic director] wouldn’t ask you to do this if he didn’t think you could do this very well. You’re being set up for success, not for failure.’ And he was right.”

As Warwick discovered, Nedzel and his behind-the-scenes team are experts. “We have everything down to a science,” said Kristen Wegner, stage manager since the festival’s inception five years ago. “Every fifteen minutes of the day is scheduled.”

Writers clock in at 7pm on Friday, a theme for the festival is randomly selected, and each playwright pulls unique cast requirements and one inspirational word out of a hat. These parameters—and a 6am deadline—give structure to the hours that follow.

24/7 writer and actor Mendy St. Ours gets it. “Your rhythms get out of whack and you have a firm deadline: two elements that can actually push a writer to get something done. At some point you just surrender and become a delirious cypher.”

At 8am, directors arrive and choose a freshly printed script from a hat. “When I have 6-8 weeks to open a show, I spend time up front collaborating with actors and designers on staging and story,” said Marianne Kubrik, a 24/7 director and Associate Professor of Drama at UVA. “With 24/7 we’ve got 8 hours, so I’ve got to make smart directing decisions fast.”

Actors arrive at 8:30am to be randomly assigned to directors. As they race to learn lines, a whirlwind crew conjures lighting, costumes, sound, and props. “I have 25 minutes to get the play cued up,” explained Heather Hutton, a four-time lighting designer. “I keep the plot simple, but with enough color to vary the look quickly.”

Like most participants, Hutton said 24/7 is her favorite theater event of the year. (Audiences agree; tickets tend to sell out quickly.) Of all her favorite moments, a singing six-year-old beauty queen, a nun in a trunk, and “Chris Baumer in girl clothes, every year.” Hutton said she loves the risk of it most. “No one is allowed to get too precious, everyone is expected to deliver, and the audience is included in this nearly impossible task. It’s a steamroller of fun and mayhem.”

Warwick agreed. Along with fiancé Gary White, he will lead a new group for 2013: the House Band. In 24 hours, this group of musicians will choose instruments and write new songs to perform at curtain call and intermission. “I remember being amazed as an audience member that what I was hearing was written last night,” Warwick said. “But now that I’ve written a piece, I’m amazed by all of it.”

Jones echoed his amazement. “I wrote the first musical in 24/7 history, and when I showed up bleary-eyed for the random casting, two of the four people drawn from the hat were musicians. And actors. And the right gender. That’s the thing about 24/7—for the last four years I’ve watched improbable shows get cast perfectly.”

St. Ours felt it too. “There’s something magic about a body of work writing itself, manifesting itself, and then disappearing within 24 hours. It’s a wacky sand mandala.”

After five years, Nedzel has an idea of where such magic comes from. “24/7 flips the paradigm,” he said, noting that actors and writers typically audition and submit works to critical producers. 24/7 guarantees that new work will be produced, that actors will land their roles. The artists, in turn, commit completely, “and they do it with conviction, guts and expertise each time.”

“Trusting the artist is a winning idea,” he said. “Given the opportunity to shine, people will always go the extra mile.”

The result is ephemeral, incredible theater. Rarely kidney stones.

24/7 201Live Arts January 19

 

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Local Catholic couple runs Casa Alma, a refuge for those in need

Many people dedicate their holidays to giving, but one Charlottesville family has built a life around it. Laura and Steve Brown, members of the worldwide Catholic Worker movement, are live-in hosts at Casa Alma, an urban homestead in Belmont that offers housing and community support to families in need—and a home and way of life for the Browns.

Now three years old, Casa Alma is situated on just over half an acre behind Rives Park on Nassau Street, and consists of three neighboring houses and a micro-farm with organic vegetable gardens, beehives, chickens, and baby goats. Two houses provide rent-free refuge to low-income or homeless families. A third is home to Laura and Steve, who both juggle jobs as well, and their three daughters, Emily, 15, Anna, 13, and Ella, 7.

None of the houses have central heat or air; the community house generates heat from a single wood stove. The five Browns share one cell phone, two laptops, and strive to grow and preserve as much of their own food as possible. They eschew appliances—no TVs, dishwashers, or microwaves—and line-dry their clothes.

“We want to be a community of justice here,” said Laura, her soft voice filling her whitewashed living room. “For us, justice means right relationships. So we’re trying to practice right relationships with God, right relationships with others, and right relationships with the earth.”

When they met more than thirteen years ago, Steve and Laura both knew they wanted to integrate Catholic faith with their daily lives. “For us that meant living simply and serving others,” Laura said. In 2009, the couple left the impoverished region of Chile where Laura volunteered at a women’s shelter and Steve at a farmer’s cooperative. They looked for a way to bring their young family to the U.S. without returning to their former mainstream lifestyles. Inspired by Catholic Worker, an ecumenical program that aligns faith and social renewal, the Browns began to speak with friends about Charlottesville’s greatest needs.

“We wanted to respond to the local need for more affordable housing for families, and we wanted to raise our own family in an integrated way—meeting the needs of others, remaining rooted in faith, and living in harmony with the earth,” Laura said.

When a parcel of land with three neglected houses went up for sale in Belmont, the Browns collaborated with other nonprofits and donors and raised enough money in three months to make a down payment on the property. Volunteers from UVA, Habitat for Humanity, churches, and surrounding neighborhoods helped renovate the plot, replacing asbestos-lined floor tiles and ancient windows, insulating walls, and removing thousands of pounds of trash.

The sense of community surrounding Charlottesville Catholic Worker—now called Casa Alma—impressed Steve. “I was initially very frightened of one person with these views meeting this person with these views, and I’ve been amazed by how open and receptive people have been of one another—and how respectful.” He’s a perennial fixture in the homestead’s gardens, and his affable hellos invite conversation with passersby. In this slow and steady way, Casa Alma’s ripples continue to spread.

Over the past three years, Casa Alma has hosted thirteen guests, including single men, volunteers, and families, like their firsts guests, three generations of Mexican immigrants who stayed with them for nine months while they paid down debt on a single minimum-wage salary and honed their English language skills. Renovations on the third house finished in May 2012, and all three are full. Local congregations and social service organizations act as referrers and transition service providers for guests, who may stay at Casa Alma for up to two years.

In addition to hosting families in need, Laura hopes Casa Alma will deepen its Belmont-Carlton connections in the coming years. Visitors are welcome from 2-4pm on the first Sunday of every month, and Laura plans to host community roundtables and potluck dinners in a collective approach to the homestead’s future. “I’d like this to be a place for people in the neighborhood to come to learn new skills, to learn how to live in a way that’s sustainable,” she said. “When you’re living on a tight budget, that can be the best time to produce your own food, and I think that’s knowledge that sometimes is not readily available.”

“Laura’s made this decision to take an alternative path in the way they’re living,” said Christine Hitchens, one of Casa Alma’s first live-in volunteers. “It’s especially alternative in our American culture to live a really simple life. And it’s a great paradox—a life of simplicity but also abundance. You get that sense being here.”

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ARTS Pick: The Dreamtime Project

Well-connected

Storytellers, musicians and world culture enthusiasts weave myths and epic folklore using African drums, Australian didgeridoos, and Native American wind flutes to create The Dreamtime Project. The accessible workshops entertain and inspire while they teach understanding and share connections from around our diverse planet. Part of over 100 family entertainment events during First Night Virginia.

Monday 12/31 3pm and 4:15pm, Main Street Arena, 250 W. Main St., Downtown Mall. www.firstnightva.org.