Best friends forever: Rebelution’s opening act Iration have known each other since college days

Iration has strong ties to the band Rebelution Photo courtesy Mitch Schneider Organization
Iration has strong ties to the band Rebelution

Photo courtesy Mitch Schneider Organization

The venues get bigger but the friendship between Iration and Rebelution remains just as strong as ever. The two bands go back to their days playing keggers on Isla Vista’s Del Playa, and now Iration is opening for Rebelution’s return to the Bowl. It’s the bands’ third tour together.

Like Rebelution, Iration plays sunshine reggae, positive vibe music. With three albums and three EPs under their belt, they haven’t risen to the same heights as their friends, but the two bands have a symbiotic relationship.

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Arsenic and old jokes: SBCC DOES ITS BEST TO JOLT JOSEPH KESSELRING’S AGING PLAY WITH ENERGY

From left, Leslie Ann Story, Christopher Lee Shortand Linda MacNeal in The Theatre Group at SBCC's production of "Arsenicand Old Lace"
From left, Leslie Ann Story, Christopher Lee Shortand Linda MacNeal in The Theatre Group at SBCC’s production of “Arsenicand Old Lace”

Many a theater major, high school or college, has done their time in a production of “Arsenic and Old Lace,” that ol’ farce about the Brewsters, the “family that slays together, and therefore stays together.” The ghosts of Cary Grant and Peter Lorre hover over the play, despite the two stars only appearing in the film version, even seven decades later. (Blame Turner Classic Movies.) It hurtles along at a brisk pace, indulges in some black but not bleak humor, and still has some clever twists in it.

On the last weekend of its run at SBCC’s Garvin Theater, Katie Laris’ production of Joseph Kesselring’s play still manages to get some mileage out of this jalopy.

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Pretty Poison: SBCC opens season with ‘Arsenic and Old Lace’

From left, Leslie Ann Story, Christopher Lee Shortand Linda MacNeal in The Theatre Group at SBCC's production of "Arsenic and Old Lace"
From left, Leslie Ann Story, Christopher Lee Shortand Linda MacNeal in The Theatre
Group at SBCC’s production of “Arsenic and Old Lace”

When writer Joseph Kesselring first imagined the story of “Arsenic and Old Lace” he saw it more as a Gothic tale, based on a notorious case of the time where the owner of a boarding house poisoned guests to get their pensions. But, rumor has it, Broadway producers Howard Lindsay and Russel Crouse convinced Kesselring to make it a comedy and so he did. The play is now a classic, community theaters everywhere still putting on productions, including SBCC’s Theater Group, who premiere the comedy this coming Wednesday.

In the play, the Brewster family is largely composed of homicidal maniacs except for the youngest, drama critic Mortimer Brewster (Jay Carlander), who comes home to marry the girl he loves, fend off police, and wonder how he’s related to everybody else. The heads of the house are two spinster aunts who murder lonely old men with elderberry wine laced with arsenic, helped by Mortimer’s brother (Christopher Lee Short) who is under the delusion he is Theodore Roosevelt and helps dig the graves for their victims. There’s a murderous older brother, too (John Bridle) who is living with a botched plastic surgery job to hide from the police.

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The Power Spot: Jessea Gay Marie is this year’s I Madonnari featured artist

Jessea Gay Marie is the featured artist in the 28th edition of IÊMadonnari at the Santa Barbara Mission. She has participated in the event since 1997.
Jessea Gay Marie is the featured artist in the 28th edition of IÊMadonnari at the Santa Barbara Mission. She has participated in the event since 1997.

Jessea Gay Marie was hard at work Thursday afternoon under the two bell towers of the Santa Barbara Mission.

As this year’s featured artist for I Madonnari, the 28th annual Italian Street Painting Festival, she was working solo on a 12-by-16-foot space directly below the Mission steps. Above her dark clouds threatened rain – and would later sprinkle all over Santa Barbara – but she was ready.

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‘Action’ time : SBIFF’s 10-10-10 competition starts with 19 finalists

Finalists in the Santa Barbara Film Festival's 10-10-10 competition, in which young filmmakers are teamed with young screenwriters to produce a 10-minute film by the end of the festival, gather at Tuesday's press conference.
Finalists in the Santa Barbara Film Festival’s 10-10-10 competition, in which young filmmakers are teamed with young screenwriters to produce a 10-minute film by the end of the festival, gather at Tuesday’s press conference.

“The minute they walk out the door, the camera starts rolling!”

It was a bit of hyperbole (no cameras rolled at all) but in terms of the 10-10-10 Student Filmmaking competition, the movie-making started on Tuesday afternoon after a brief press conference at the Canary Hotel.

Michael Stinson of Santa Barbara City College ended the announcement with the above words, flanked by his partner, Guy Smith of Antioch University, and the 19 high school and college-aged contestants.

They now have until the end of the Film Festival on Feb. 9 to shoot and edit a 10-minute film.

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A FULL PLATE: 2010 in Theater: Santa Barbara Kept On Keepin’ On

David Bazemore
David Bazemore

Santa Barbara’s theater scene marked anniversaries, said goodbye to some well-loved people and maintained high-quality shows in difficult times in 2010.

For companies, it was a year of stasis. The city college’s theater group is still waiting for Garvin Theatre renovations to finish, but that has led to some interesting work in Interim Theatre, converted temporarily from a classroom. Alan Ayckbourn’s “Time of My Life” featured some of Santa Barbara’s best actors Ed Lee, Katie Thatcher, Brian Harwell, et al. for a twisted dagger of a comedy, while “Machinal” and the “The Suicide” featured nothing but SBCC’s drama students onstage, and both productions (revivals of 1920s plays) were brave and daring. The Ayckbourn play also marked the farewell production of Rick Mokler, who had been directing for 20 years. Katie Laris has big shoes to fill, and one can already see she’s ready to take the department in a new, vibrant direction.

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Home of the Brave: “Wit” Pits Poetry Against Cancer

runnawaybunny

Mention people and cancer and the adjective “brave” pops up immediately. And in “Wit,” the Pulitzer Prize-winning first play from Margaret Edson, much bravery-of the theatrical kind-is on display. The playwright has decided to focus on a woman dying of cancer, spending the play in a medical center, allowing few supporting characters other than doctors, nurses, and interns. The actor (Allison Coutts-Jordan) portraying the woman Vivian Bearing, a professor in English specializing in John Donne, must achieve a delicate balance between dignity and debasement, between harshness and sentimentality. And because this terminal illness attacks such a stern taskmaster without, as we soon learn, a husband, children, friends, or loving students, the temptation for Edson to use the illness as a sort of punishment-repent, Ebenezer Scrooge!-must be resisted.

This performance, to run until Nov. 8 at SBCC’s Garvin Theater, pulls all the above off perfectly. Director Rick Mokler certainly took a chance with the play, with its many grim scenes likely to repel a number of people. Mr. Mokler also has invested in a play that relegates much of its time to a hospital bed set back in the stage. Fortunately, Ms. Coutts-Jordan handles everything with confidence-she is called on to carry the play and does so because there is no room in the character’s world for anybody else. She relishes the part and the audience is with her all the way.

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Lost in memories in The Lady and the Clarinet

Michael Cristofer’s play “The Lady and the Clarinet” is less a straightforward romantic comedy and more like a mysterious chocolate candy. The outside is sweet, but the inside is bitter the more you chew — and by the end you’re not sure if the outside was really chocolate to start with.

Mr. Cristofer earned a Pulitzer Prize for his earlier play, 1977’s “The Shadow Box.”

“The Lady and the Clarinet” dates from 1984, and was at one point an off-Broadway hit for Stockard Channing. Director Maggie Mixsell has resurrected the play and brought it to Santa Barbara City College’s Jurkowitz Theater for a three-week run, where it becomes a star vehicle for its leading lady, Katie Thatcher.

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