I usually throw a few notes down on my computer before going to bed if I think that I might want to write about something that I’ve been to. The first note that I left for myself after getting home from seeing Corian Ellisor and Alex Abarca’s My People at 7 Stages was the question “Why am I drunk?” I got a cup of wine from Java Jive before the show and found that my face and lips had gone completely numb and I was finding new comfortable ways to lean against the banister by the stage. For a moment I wondered if I’d actually been drugged but I suspect that my body was just worn out by a long week and there was more wine in that cup than normal. Fortunately I had walked there and didn’t really have to worry about driving.
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Author Archives: Robbie
ASO: Donald Runnicles
Well, that was embarrassing. I found myself moved after Donald Runnicles and the Atlanta Symphony Orchestra finished Mahler’s Symphony no. 10 (Cooke III version) so, naturally, I stood during the ovation. And nobody else did. And for some reason nothing was moving on the stage. And I sat down again, not entire sure that it was over, even though they’d come to the last pages of the score and I was certain that all of the movements had been played. And then some other people started standing and finally I got over myself and stood again only to feel a jolt shooting down my sciatic nerve. And then my knee started to get really sore. And I started worrying that I wouldn’t be able to walk to my car to go home. Thankfully, I stretch some and was able to walk out of there with everyone else. For some odd reason, my big toe on that side still hurts, but I’ve done some stretches at home now and everything seems fine. Fortunately, I have a chiropractic appointment for Monday. Yeesh! Anyway, clearly the lesson here is to have the courage of one’s convictions and not to back down so easily in the face of uncertainty.
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7 Stages with Mondo Bizarro: The Way at Midnight
I got my ticket to Mondo Bizarro’s The Way at Midnight on a whim while getting a ticket to something else at 7 Stages. Honestly, I thought that it looked a little gimmicky and scattered from the descriptions, so I wasn’t terribly excited about it. And I guess you could say that it was kind of gimmicky and scattered, but they made that work really well and it turned out to be a very good play.
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Kibbutz Contemporary Dance Company: Horses in the Sky
My response when I was told by security that I couldn’t bring my umbrella in and then by the ticket person that if I leave to put it in my car that I cannot come back in was an angry proclamation that “This place is bullshit!” It was rude and, although I stand by the sentiment, I regret the tone. However, it did get the attention of someone who pointed out to the security person that the smaller kind of umbrella that I was carrying was fine. I was already frustrated from getting lost trying to find the place,1 but even if I wasn’t frustrated then I’d still feel that this wasn’t the best way to greet new patrons to a new arts center. The least that they could do is put the ticket scanner person on the other side of security. I mean, this is suburban Atlanta: you are going to have a lot of people with concealed carry permits coming there and there will definitely be a few who aren’t going to know in advance that they can’t carry there and aren’t going to be terribly happy about the idea of having to check their (not very inexpensive) weapons. Let people at least have a chance to drop their unapproved items back in their cars before you refuse to readmit them. Or, even better, drop the security theater: the moment that I walked through it I noticed two different ways that I could have smuggled contraband and even other people in without much trouble. I spend a lot of time in theaters and auditoria and this and the Fox are the only two places that do this.
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ASO: Donald Runnicles with Evelina Dobračeva, Thomas Cooley, & Russell Braun
As I was walking to my car from Memorial Hall last night, I overheard a couple of people talking about the Atlanta Symphony Orchestra’s concert. One said that she couldn’t remember his name, but that the conductor was English and she liked him.
Me: He’s Scottish and his name is Donald Runnicles.
Woman: He’s Scottish? Not English?
Me: Yep.
Woman: I like him even better!
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Brian Clowdus Experiences: The Edgar Allan Poe Experience
Another Disappointing Play:
Another review in the form of a hastily and poorly written sonnet
By Robbie
There is such joy and fear for you to know,
If you read from words upon any page,
That were written by Edgar Allan Poe,
So why not go and see it on a stage?
But even with my expectations low,
I found myself with want to look away,
And not because of fear nor gore — no, no!
But from the poor quality of this play.
Could not a writer usher forth a word,
To tell a tale that could reach to my heart?
See more by them? I’ll quote that big black bird,
Red faced, be shamed to death, if I do start!
Clowdus, you are such a talentless hack,
I wish I could have my evening back.
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ASO with Jun Märkl and Giora Schmidt
Saturday’s Atlanta Symphony Orchestra with guest conductor Jun Märkl seemed to get off to a rocky start. The first piece on the program was Berlioz’ Benvenuto Cellini Overture, which is a charming and colorful piece with which to start an evening of music. Unfortunately, the orchestra was a bit muddy, particularly at the beginning. I suspect that things might have come out better if Märkl had waited a few seconds to get everyone’s attention before cuing the performance’s start: he leapt upon the podium and began the piece nearly immediately, significantly faster than I’ve seen from any other conductor. It wasn’t terrible but it also wasn’t the best way to start the evening.
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