While many choreographers would look to a 50th anniversary tour to program a greatest hits package, Twyla Tharp, who will be at The Granada Theatre tonight, does the opposite in a career of bold moves. Instead she’s created an evening of two new works. “Preludes and Fugues” raids the extensive pieces in J.S. Bach’s “Well-Tempered Clavier” and bears the influences of all those that came before her in modern dance: Merce Cunningham, Jerome Robbins, Martha Graham and George Balanchine. And “Yowzie” turns from classical to jazz, with bright costumes and a soundtrack of early ragtime and jazz.
“Preludes” is “the world as it ought to be,” she says, “and Yowzie is the world as it is.” Ms. Tharp is quoting herself, and it’s a phrase that graces the evening’s program in her artistic statement. That tension between fantasy and reality has long been part of her work.
The Santa Barbara International Film Festival honored movie star, writer, activist and feminist icon Jane Fonda at its annual fundraiser Saturday with the 10th annual Kirk Douglas Award for Excellence in Film.
The black-tie gala at the Bacara Resort & Spa recognized the iconic movie star in much the same way as the honors and tribute evenings that make up the February festival’s week-plus schedule.
Last week Santa Barbara audiences sat transfixed by the odd blend of dance and theater that was Adam Barruch’s “Sweeney Todd: The Demon Barber of Fleet Street” at the Lobero Theatre. In the audience watching the performance was Ensemble Theatre’s Jonathan Fox, who just that day was rehearsing his own version of Stephen Sondheim’s bloody and dark musical, set to open this coming Thursday. It was one of those weird coincidences in Santa Barbara theater than happens now and then – like two productions of “Other Desert Cities” in 2015, one at the Rubicon, one at PCPA – despite every company trying for a unique season.
“It’s kind of a funny story,” says Mr. Fox, just before rolling into a story of schedules, contracts, dropping a previous plan, and thinking of returning to the world of Stephen Sondheim. “A Little Night Music” was the first performance at The New Vic. Rick Mokler, some 20 years ago, had put on a production of “Sweeney Todd” at SBCC, but it had never returned to our city.
The Santa Barbara LOL Comedy Festival was new last year, but quickly ingratiated itself into Santa Barbara’s increasingly crowded arts fest scene with six nights of stand-up comedy, most of them filmed for cable TV. One of those specials was for Brad Williams, the “little person” comedian – though he’ll gladly call himself a dwarf or a midget, and more about that nomenclature later – who got his big chance to have a full-hour set recorded last year at the Lobero Theatre for Showtime.
Mr. Williams loved it so much that not only is he coming back this year, but he’s the “Ringmaster” of his own show next Friday, bringing on his own favorite – yet still unknown – fellow comedians.
Adam Barruch is on to something that might be new in both the world of theater and the world of dance. Mr. Barruch’s adaptation of Stephen Sondheim’s “Sweeney Todd: The Demon Barber of Fleet Street” is not a dance interpretation of the musical. Neither is it Mr. Sondheim’s musical with extra dance numbers. Sitting in on the rehearsals at the Lobero Theatre – Diane Vapnek and her DANCEworks secured the space as a gift for his residency – it’s hard to say what Mr. Barruch’s “Todd” will finally become until tonight’s premiere.
William D. Popp plays Sweeney Todd, yet he’s often working alongside the other dancers singing about himself in the third person. These are concepts, not characters, to be possessed by at will. There’s something primal about it, like Mr. Barruch has gone back to druidic times, thinking more of blood sacrifice, and less dreadful about human meat pies.