BLAC, INC PRESENTS GOSPEL ARTIST
REV. DR. A. CORTES REX, Jr.

Gospel Artist Rev. Dr. A. Cortes Rex, Jr. of Los Angeles, California is scheduled to appear in Oklahoma City on January l9th in a “Tribute to Dr. Martin L. King, Jr.” It will be held at Frederick A. Douglass Auditorium at 8:00 p.m. during the Martin L. King weekend of birthday celebrations that culminates on January 21^st.

            Born in Wichita, Kansas, Rev. Dr. A. Cortes Rex, Jr. grew up in Tulsa, Oklahoma where he attended Booker T. Washington High School.  Following graduation, he matriculated to Langston University where he graduated in 1980 with honors, and was voted the Most Talented Male in his senior year.  He later pursued a Masters of Administration Degree at California State University at Dominguez Hills in Long Beach.  He is a member of Kappa Alpha Psi Fraternity and is the President and Producer of Signs and Wonders, Inc.  Dr. Rex sang background for live performances and recording sessions with well known gospel and secular artists.   Dr. Rex is the recipient of the City of Los Angeles Motown Award, April 2008.  He was nominated to the Oklahoma Jazz Hall of Fame in 2009.  Theater lovers may recall that BLAC, Inc. presented him in “A Tribute to James Cleveland” earlier this year.

       Tickets to the show are on sale now for $20 and $50 for V.I. P. seats and a reception with Dr. Rex.  They may be purchased at the following locations: Charlie’s Jazz, Rhythm and Blues Store, Hopkins HairCare and Learning Tree.  For more information and group, senior and student discounts, call BLAC, Inc. at (405)524-3800.

 

            This show is sponsored by Black Liberated Arts Center, Inc., Oklahoma Arts Council and the Ad Astra Foundation as part of the Limited Edition Series in BLAC, Inc.’s 2012-13 Annual Season of Performing Arts.

 

ISTVAN GALLERY

Istvan Gallery Presents a Pop-up Show Featuring Brooke Rowlands and Ty Kelly December 14, 2012 6:00 p.m. - 8:00 p.m.   We will be featuring Brooke’s fantastic mixed media interpretation of Magnolias, Fuchsia, and other Flora and Ty Kelly’s colorful and whimsical interpretation of the world. This is great chance to increase your personal collection or find a perfect gift for the art collector in your life.                                                                                                                             Brooke Rowlands "Ever since I have picked up a pencil I have always gravitated towards flowers and the delicate yet powerful nature of them. My inspiration comes from many things, but the main source of my love of art comes from my Grandmother. As a child she showed me that she used to press flowers into books and showed the ones she kept over the years throughout her childhood in Germany. The style I would like to accomplish is more on the contemporary side, with abstract mixed in, tied together with illustrations. I generally like to draw/sketch out my flowers to be the main attraction in my pieces. The flowers are always black and white drawn to the roots of my abstract background splashed with vibrant colors. My media range from Acrylics, Printing based paints, charcoal, graphite, and ink. I have painted on canvas and many mediums before, but currently I have been Delving more into Mixed Media with collage, Monotype Printing, and Watercolors."   ************************************** Ty Kelly Ty Kelly was born 1971 in Casper, WY and moved to Oklahoma City, OK in 1994. He has been painting since the early age of eleven but only became concerned about making it into a career once in Oklahoma. Soon after he began studying art from the renowned Russian artist, Igor Koutsenko, who influences many of the images throughout Ty’s art. You have to know the rules before you break them, and this is where Ty learned them. Today Ty’s style is a mixture of whimsical fantasy and skewed perceptions. He has a wide range of mediums that he has worked with, such as oils, watercolor, pastels and pencils to name a few. He currently resides in Oklahoma City, were he conceptualizes and produces his whimsical body of art. Ty has done numerous commissions for private collectors, and currently exhibits his art throughout the United States. “Through my art, I am inviting children into the art world, with images that appeal to them and to the child in us. I am striving to create a world that sparks the imagination. I have deliberately broken the rules of perspective to free the viewer’s mind into a state of wonder. In this way, I’m breaking the boundaries of the imagination, not merely bending them, making the impossible seem a little more likely.  Enjoy my imaginary world!"   **************************************   Refreshments will be available.  All work is currently up and available for purchase. The show will continue through the end of January, 2013.    Stop by on your way to LIVE ON THE PLAZA!  You DON'T want to miss Hipster Santa!   End of the World Exhibition and Party at Maya Trading and Istvan Thurday December 20, 6:00 - 10:00 p.m.   Come out for the "End of the World" exhibition opening! Presented by Maya Trading Co. - in conjunction with Istvan Gallery - will have artwork that celebrates the end of the Maya calendar's fifth cycle which will take place on 12.21.2012! This might be the last thing you do! We will have a large-scale installation/capsule for attendees as well as dancing by a local Matachines dance troupe! Will be a fun way to spend your last minutes on Earth! **************************************         AK Westerman, Nathan Lee, Rick and Tracey Bewley and Dusty Gilpin's work continues to be on display and for sale through January 2013.

1218 North Western Ave. Oklahoma City, OK 73106-6824 • Phone: (405) 831 2874 • urbanartokc@gmail.com From the email

OKLAHOMA FILM & MUSIC OFFICE:
PRODUCTION ASSISTANTS NEEDED

E-Blast

December 13, 2012

The documentary film “Playground of the Native Son” is seeking production assistants for their shoot which is in progress. Filming will continue through December 18^th and includes locations in Dewey, Ramona, and Skiatook. The film documents the historic, yet largely forgotten about 1929 football game between the New York Giants and members of a Native American team comprised of players from various tribes. Pay will range from $80-$100 per day.

Interested parties are asked to  contact Line Producer Marty Veselich by phone 310.702.8991 or e-mail Planetwav@aol.com.

 

Review:
VALSE FANTASIE AND
CINDERELLA BEAUTIFUL
AT OU'S FESTIVAL BALLET

By Nancy Condit

Last Saturday evening the University of Oklahoma's Festival Ballet presented Balanchine's lovely Valse Fantasie, staged by Leslie Peck for the Balancine Trust, and a holiday favorite fairy tale Cinderella, co-choreographed by school of dance director Mary Margaret Holt and faculty member Steve Brule at the Reynolds Performing Arts Center in Norman. This was a beautiful evening of ballet, something that OU does well as it prepares students for professional work.

This version of Valse Fantasie, the first, and choreographed by Balanchine in 1953, was light, airy, frothy, and emphasized the four women reaching up as they leapt, assisted by the single male dancer, all dressed in filmy white costumes by Mike Buchwald after Barbara Karinska. Towards the end of the nine minute piece, the women and man circled their heads and each other, leaving the waltz one of circles on the ground, in the air and around each other. The music was by Mikhail Glinka.

Cinderella, Sergei Prokifiev's music, followed the familiar fairy tale, and included a beautiful celebration of nature as the Fairy Godmother led Cinderella and her prince to the Glade with the fairies of the four seasons. It was shortened from three to two acts "to make a more personal story," co-choreographer Mary Margaret Holt wrote in the press release.

Cinderella combined classic miming and ballet steps with contemporary work. The ballet made the most of miming throughout the dance, starting with Cinderella's grief when she was struck by her stepmother, and her joy at hearing her pet bird as her hands fluttered around the cage caring for them and imitating them. The crone who knocked at the door and who Cinderella showed to the fire was incredibly bent and clothed in a wonderful piece of costuming that wrapped around her figure in black and grey. She was so bent that when she finally became the Fairy Godmother, her transformation seemed almost impossible.

The hysterical Ugly Stepsisters were danced and played by senior faculty members Steve Brule, co-choreographer, and Donn Edwards. They made the most of what appear to be comfortable faces, judging from their faculty photos, and a lot of make-up. These ladies also had the unusual nervous tic of raising their skirts to their hips, allowing their pantalettes to show -- even at the ball.

The duet, chaperoned by the Fairy Godmother, danced by Cinderella and the Prince, after they met, she had run away at midnight, and he found her, was choreographed and performed very well. The piece combined classical and contemporary ballet, especially in the Prince's lifts of Cinderella. The Prince, unidentifiable at the time of this posting, was particularly good and stable in his lifts. The Jester, in duocolor motley, ushered in guests and entertained, returning to a stable one-leg-crossed-
over-the-other standing position.

 

Review:
OKC BALLET
TRUMPS ITSELF IN
PLEASURABLE
NUTCRACKER

By Nancy Condit

Sunday's matinee of the Oklahoma City Ballet's one of the holiday's favorite The Nutcracker presented artistic director Robert Mills' choreography and direction, after original choreography by Lev Ivanov and Marius Petipa, with two leading couples -- the young Clara and Drosselelmyer's apprentice Hans, and the adult Sugar Plum Fairy and her Cavalier. The welcoming holiday garlands of lights throughout the house, the fine performance by the Oklahoma City Ballet of The Nutcracker, and the pleasure of hearing Peter Ilyich Tchaikovsky's music performed by the Oklahoma City Philharmonic, led by Joel Levine, made for a highly enjoyable Sunday matinee for the wide range of young children and adults. Artistic director Robert Mills' choreography and direction, after original choreography by Lev Ivanov and Marius Petipa, presented two leading couples -- the young Clara, and Drosselmyer's apprentice Hans, and the adult Sugar Plum Fairy and her Cavalier.

The ballet as a whole was lovely, with good performances. Company dancer Callye McCollom as Clara and Tye Love as Hans made an engaging couple, although it was difficult to watch a dancer as accomplished as Ms. McCollom pull back through an entire ballet. Miki Kawamura was perfectly straight, and very funny as the Kissy Doll, even as she was carried offstage with arms and legs at a doll's angle. The battle between the soldiers and mice was led well by Nutcracker Tye Love dancing with the incredible head, and the excellent mouse king Ryan Piper. The children were good and charming.

The clear light blue set, by Dale Hall, and costumes, by Michael Jones, Suzanne Hobbs, and Marcus Ford, in the Land of  Show, showing off the company dancers, continues to be the most beautiful scene of the ballet. Combined with Clara -- McCollum, and the Nutcracker Prince -- Love, this is dancing for the beauty and joy of dancing.

The Kingdom of Sweets' individual dances were precise and engaging, with Ellany Abbot leading Leah Burge and Alison Prochaska as the delicate French Marzipan, and Ezlimar Dortolina and Ryan Piper in Arabian Coffee, as they conveyed the exotic by right angled hands, and her curling backwards around him as he supported her. Kawamura and Alvin Tovstogray -- a substitution for Sato, were excellent in the Sugar Plum Fairy and her Cavalier's Grand pas de Deux, expecially as she leapt to his shoulder, and as he supported her in her pirouette.

However, with Clara and Hans performing at a "younger" level through all of the corps de ballet presentations, including the Waltz of the Flowers, the grand pas de deux by the Sugar Fairy and her Cavalier -- performing at a higher intensity, was anticlimatic -- if only because of the comparatively short time they spent on stage. While a long series of corps de ballet work can be monotonous, the entire company has worked hard to perfect it. The corps de ballet, which performed so beautifully last year, even found itself squashed to the sides during the Flowers dance while Clara and the Nutcracker danced well in the middle of the stage. This is new choreography by Mills, and this writer looks forward to his next choreography of The Nutcracker.

The final weekend of The Nutcracker December 14th - 16 at the Civic Center Music Hall. Each weekend includes 7 pm performances on Fridays and Saturdays, and 2 pm performances on Saturdays and Sundays. Children's activities, including pictures with Santa and pictures with the dancers, are held before and after the matinees.

Tickets are available online at www.okcballet.com/tickets.html, by phone at 405.848.TOES, or at the Civic Center Box Office. Prices range from $12 to $52. Family Four packs are $50. Check the website for special offers on tickets.

Review:
RACE'S HIP HOP NUTCRACKER
ENTERTAINING AS IT
COMBINES PROFESSIONAL
AND HIGH SCHOOL STUDENTS

By Nancy Condit

RACE Dance Company, the only professional jazz company in Oklahoma, successfully showed
that they can bring about social awareness and change through entertaining dance performances and dance education
at last night's performance at Bishop McGuinness High School in Oklahoma City.

The last show is tonight at 7:30 p.m. for $12.

Three high school groups performed different types of hip hop for Carlos, 14 year old Dominic Brown, in The Land of Possibilities: Northwest Classen in the Land of Basketballs, Southeast high school dancers  in the Land of Automotive, crump - isolations in camoflauge - from the student dancers at Putnam City North, resilience from the uncles, "Band of Misfits" as they breakdanced, vitality from the cousins as the Jr. Race Dancers danced the footwork style of house to "Electric Santa."

The grandmas, danced by Race Dance Company, brought an hysterical sense of history as they danced Old School on walkers and canes in choreographed piece by Tasha Henex. And director danced a touching and strong comtemp-hop Mom to her choreography, while Brandon Bg Graves danced a wistful pop and lock father in and then out of Carlos' life.

Also performing were The Men of Race, Jr. Race, and RACE.

Dominic Brown himself as Carlos danced well.

The last show is tonight at 7:30 p.m. for $12. A spring show is also is planned.

GREAT DANCERS IN
OCU'S HOME FOR THE
HOLIDAYS

By Nancy Condit

The women and the men of the American Spirit Dancers gave a
very good performance at Thursday night's show of Home for the Holidays
at Oklahoma City University. Whether it's the public's growing appreciation of
dance, director of the dance program Jo Rowan's national recruiting, or both,
the stage was filled with men and women performing Busby Berkeley style
formations, great tap dance numbers, and the "Parade of the Wooden Soldiers,"
choreography by Paige Porter and staged by Kari Shaw, followed by the
"March of the Toy Soldiers," choreographed by Diana Brooks, after the 1930's
 movie dance in "Babes in Toyland."

While "Baby Please Come Home" introduced six men leaping -- as suits the
season -- in black suits and brilliant turtlenecks -- under falling snow, choreographed
by Brian J. Marcum, one of the women's show-stoppers was "Here Comes Santa Claus/
Santa Claus Is Coming to Town," with two troops of women -- one in short white fur trimmed
capes, skirts and Santa hats, choreographed by Kelli Stevens, the other in red costumes,
forming kicklines, four- spoked rotating wheels, and upper bodies forming patterns similar
to those in Busby Berkeley movies, choreographed by Jo Rowan.

"Deck the Halls/Up On the Rooftop" had the women tapping in short green tunics,
choreographed by Diana Brooks, while "Man with the Bag" had three women in '50's
style green and red tops and full skirts with contrasting red and green crinolines,
adding attitude and Gwen Verden style sensuousness, choreographed by Marcum.

"Lollipop" -- to the '50's classic had dancers tapping to a version of the song delivered
like the beat of a metronome, choreographed by Patricia Oplotnik.  Great.

Remaining performances are at 8 pm December 7th and 8th, with matinees at 2 pm
on December 8th and 9th. For tickets or additional information about these performances,
call the Oklahoma City University Ticket Office at (405) 208-5227 or visit www.okcu.edu/ticketoffice.