The Chocolate Nutcracker
November 29, 2009
Welcome back to The Expressionist Magazine
What do you think of when Christmastime is near? Colored lights, pine trees, traditional carols, crowded malls, and snow covered streets? Perhaps you conjure up the delight of fres
hly baked cookies, spending time with family and waiting for Santa’s arrival. For me, the ever classic tale of The Nutcracker always comes to mind. I remember one of the first times I saw the ballet. I was a little girl, and my mother took me to see it. I loved the costumes, the dancing and of course, the beautiful music. For many Christmas seasons to follow, my mother would continue to take me to see the performance. As an adult, I continue to look forward to the beloved ballet. The story is timeless and continues to be a part of my holiday tradition today.
Originally written in 1816 by E.T.A. Hoffman, the popular dance production was called The Nutcracker and the Mouse King, and was considered to be quite mor
bid, not exactly something recommended for children. It was later on revised to a more child friendly version with the help of the French writer, Alexander Dumas Pere. Pere sparked the interest of Marius Petipa, the senior ballet master of the Russian Imperial Ballet. In 1891, he commissioned Piotr Ilyich Tchaikovsky to compose the score for a full length version of The Nutcracker. It debuted the following year in St. Petersburg, Russia. The ballet stayed until 1934, when it appeared in London. Six years later, it was introduced to the United States in a shorter version. Then in 1954, choreographer George Balanchine created his famous and well known version of The Nutcracker for the New York City Ballet. Although the ballet is not as dramatic or scary as it first was written to be, it still embraces the original story. A little girl’s favorite Christmas toy (the Nutcracker) comes to life and takes her away to a magic, fairy tale land populated by dolls after defeating the evil Mouse King. This is a tale where reality is lost and imagination prevails. Sugarplum fairies sparkle, and toy soldiers don red candied cheeks. It’s make believe, happy and wonderfully written for all ages to enjoy. However, it is a well known fact that nearly every version of ballet production consists of mostly all Caucasian performers. LaVerne Reed wanted to change that.
Reed, who grew up in South Philly in the 1950s, studied dance and took on small roles in The Nutcracker in the Pennsylvania Ballet throughout the years. Reed was always a very talented dancer, but was never cast as Claire (or Clara), the lead character in the production. Reed said that when she got older she was going to create and direct her very own version of the classic tale where the dancers could all be of different colors; a multicultural Nutcracker production. This was Reed’s vision, her dream. She went on to study dance and theatre at Howard and George Washington Universities, and then later on lead a national dance touring company. At the age of 39, Reed set out to remake The Nutcracker… her way. This African-American inspired modern take on the original holiday classic would be called The Chocolate Nutcracker.
Reed’s narrative loosely follows the original version, but unlike the original more Victorian version, the opening party scene is set in 1950s Harlem. And this is just the first change to the version we all know. The lead dancer, Claire, has to fight off vicious snakes instead of battling the notorious Mouse King and his army. Traditional snowflakes are replaced with twinkling starlight generated by a hidden disco ball. And if you remember the original Nutcracker, there are magical lands including that of the Snow Queen and Candy Land. In Reed’s version, little girl Claire stops off in more realistic places such as Africa, Egypt and Brazil. She even visits a street corner where a jazz bassist and saxophonist play a duet. However, there still is magic involved in each of these places. Claire explores the “Magical Rainforest,” a place called the “Land of Funk” and “Jazz Land.” The little girl and the Chocolate Nutcracker explore these faraway lands in a dream. With all their global travels, the duo is introduced to a variety of musical dance genres such as gospel, hip-hop, jazz, modern, tap and ballet. According to Reed, the whole idea was to incorporate cultural touchstones that would better resonate with minority audiences and incorporate more popular dance styles than just the traditional pointy-toe ballet.
The Chocolate Nutcracker came to life in 1994 on the campus stage at the University of Southern California, and it has been exciting audiences ever since. Performed throughout the country, the ballet production is selling out to large crowds. It’s not just the popularity of the show that has grown, but also the amount of dancers involved. When The Chocolate Nutcracker first got started there were only about 75 dancers, mostly all youngsters. Today, there are over 200 dancers from the ages of six to twenty-five, along with over 120 adult volunteers. Quite a few of the children involved with the ballet over the years have endured personal struggles. Some haven’t had much to go home to. They may live in high poverty situations or come from broken homes. Instead of getting involved with crime such as using drugs or hanging out on the streets, these children have overcome the odds and taken to dance. In fact, dancing is their life. When these youngsters perform, they use every ounce of their heart and soul. Their passion and drive is amazing and it truly emanates in each one of their performances. In addition, the production is not exclusionary, meaning white children can participate and many ending up doing just that.
The end result of Reed’s dream is nothing short of energetic, fun and different. It’s a refreshing twist to the original version we all know so well. Sometimes it is hard to embrace change, but in this case, change is a good thing. The Chocolate Nutcracker has everything and more that the classic tale does. So, if you haven’t seen it, be sure to do so this holiday season.
The 12th anniversary show will be shown at the newly renovated Mahaffey Theater in downtown St. Petersburg, FL, the weekend of December 4-5th, 2009. For more information, contact www.mahaffeytheater.com.
Mahaffey Theater
401 1st St. S., St. Petersburg, FL 33701
727-892-5798
USA’s Little Darlin’ – Jackie Evancho
October 9, 2009
Sometimes the best things come in small packages, although people perceive that bigger is better and immediately dismiss the smaller wonders in life. In doing so, they miss out on the great things life has to offer. That’s exactly how I feel when I talk about this amazing young lady, Jackie Evancho.
I was sitting at my computer when this e-mail came across my inbox. The message read and I quote, “If you’re interested in “up and coming” music artists, I have a very special one for you. Her name is Jackie Evancho, she is from Pittsburgh, and she is nine-years-old. Jackie sings like no other nine-year-old anywhere. Jackie isn’t signed to any label, but she is putting out her own independent CD in November. I saw that you interviewed Connie Talbot…..well, wait until you hear Jackie!” Obviously, that peaked my interest. From experience most people would see a nine-year-old and say “yeah, that’s just some family pushing their kin” and dismiss. I couldn’t do it. I believe in the children of today and their art ability and I support those who express it. So, I went and visited her link and to this day I am so glad I did, because she’s exactly what we look for in a story.
What I heard fooled my ears. I was thinking that this voice wasn’t coming from a nine-year-old girl, but instead a woman in her late teens to early 20s, singing with controlled range, pitch and ear pleasing melody (mind you I didn’t see a picture of her). It was the voice of an angel! Then I got to the video, and sure enough it was a blue eyed, blond haired adorable child with a voice beyond her age.
You’d expect most nine-year-olds singers to choose a genre like pop, perhaps to mimic their idols like Cristina Aguilera, Brittney Spears, Mya, Pink or someone in that field. Not Jackie, and why should I expect anything less; this pint sized wonder chose “classic crossover.” For those who don’t know what that is, it’s a style of singing you would find with broadway, opera and gospel music. It takes the utmost control and concentration to perform this kind of genre, just ask Josh Grobin and Sara Brightman who have mastered the genre. Jackie makes it look easy. She just loves these singers and wants to someday follow in their footsteps with her own music, hopefully sharing in the success they already know.
Amazingly, Jackie never took professional lessons to achieve this vocal standard; it came completely naturally. She was discovered by her mother after watching The Phantom of the Opera. Jackie had gone up to her room to play, and downstairs this amazing sound came flowing through the air. Jackie’s mother went upstairs and sat at the door of Jackie’s bedroom and heard Jackie singing some of show’s songs. Her mom’s jaw hit the floor, probably like mine did. Then she stepped in surprising her daughter by saying, “Oh my Jackie, I can’t believe that’s you!” Her parents decided it was best to get her some professional lessons to help her perfect her God given talent. Jackie laughed when she told me what her vocal coach says about her. “Jackie, you’re the cupcake. I’m just putting the icing on the top.” She really doesn’t need much training from what I’ve already heard, and I agree with her vocal coach.
Jackie is about to release her CD, expected around November. This young talent is uber excited about this. She tells me the songs on the album are a secret, but did divulge that it will have a blend of genres from opera to gospel and even some country revamped to fit her singing style. Having a CD is a milestone for any musician, and Jackie gets the honor at the very young age of nine. This CD is an independent release; she is not signed to any label so purchasing the CD will probably come from her own website once released.
When Jackie isn’t singing or producing her CD, she is just like any other nine-year-old girl. She loves to play with her friends, shop, go to school and ride her bike but most of all she loves spending time with her family. What I love most about children in the arts is that they look invincible on stage or in the limelight, but once the show is over they return to their beloved childhood and that is the sign of a true superstar.
I see Jackie going far in her career. I just can’t see her falling like some of the children have in the past. If I had a crystal ball, where I could see the future, I would see this: Jackie won’t be playing on MTV or anything like that, but instead I see her sitting on the stage at Carnegie Hall, standing alone as a vocalist. Behind her is the New York Symphony Orchestra belting out the melody of her songs, which will surely send chills down your spine as only the orchestra can do. Jackie will be releasing that amazing voice over the orchestra to give you goose bumps on top of goose bumps. That is how Jackie will touch your heart.
Jackie’s Achievements
In 2009, Jackie was asked for a second command performance by Pennsylvania Senator, Jane Orie, to perform at the site of the United Flight 93 crash site during 9/11. It was Jackie’s first time singing for something that special, an honor she holds dear to her heart. To be able to provide her voice to the victim’s family and her country in hopes to mend the pain of that frightful day was quite significant to the young singer. Many of us know where we were or what we were doing when the planes hit; Jackie was only a year old when that all went down.
Jackie also won or came in the top three spots for contests in the Pennsylvania area. She has also performed on a real stage at the Pittsburgh Musical Theatre.
The year 2009 also marks a momentous time for this rising diva. Shortly after the interview I did with Jackie, she had another performance for Jackie Orie, and will be on a PBS special with composer/conductor Tim Janis set to come out this fall.
For More Jackie…
If you want to hear some of her music, guaranteed to bring a tear to your eye or touch your heart, go to http://www.jackieevancho.org/. The site is also a bulletin board so you can interact with all her fans.
Also don’t miss out on her podcast with The Expressionist Magazines’s Artist One on One. She sings like an adult and talks like one, too! Jackie articulates well, and has manners typical of a little debutant. This little singer will amaze you, make you laugh and you can get to know her personally. Just go to http://www.theexpressionist.com/2009/10/02/jackie-evancho-usas-little-darlin-podcast/. You can download the podcast to your computer, listen to it on the story or get it from iTunes under “Search- Podcast- The Expressionist Magazine.
Franco Mirenzi- Composing Italy
February 27, 2009
Europe is known for its music and art; there is no doubt about it. Music in Europe goes back to the dawn of time, especially from the 1300s to 1800s when some of the best known composers emerged such as Mozart, Beethoven and Bach, just to name a few. Those names are synonymous with classical music and compositions that have lasted for centuries.
Before the dawn of big band and rock music that emerged in the late 20s and was mostly an American music tradition, there were operas and symphonies. This was the entertainment back then, and it was the dream of these composers to make beautiful and elegant music that would someday earn them a spot to play before the royal family.
Classical music is the grandfather to most modern music today, but I find it far more challenging than today’s music. It involves knowing multiple music styles from different instruments, and blending them into a harmonic tempo. The skill and time it takes completely amazes me, and Franco Mirenzi from Rome, Italy does it with ease.
I came across this great composer from Italy while searching my MySpace account for music. Classical music is not readily available on MySpace, so it was refreshing to see. Franco Antonio Mirenzi has dedicated his life to composing great works of musical art, and we had the chance to interview this amazing musician and let him tell you his story in his own words.
How old were you when you started composing?
I started composing in a systematic way around 20 years of age.
What kind of music inspired you to compose?
Classical music of our time; a music to gratify the mind, heart and soul. I like to give my listeners a different sound than the so-called trade and consumption, but also different from the contemporary music of today. I think that the public should be respected and be able to understand and enjoy good music. For the moment, I compose music for traditional acoustic instruments (piano, organ and all the instruments that make up the symphony orchestra) and the human voices.
What kind of music have you composed? Is it mostly classical in nature?
My first experience in playing and composing has been in the rock and pop music genres.
What’s the hardest part of composing music for you?
I must say that the most difficult part is composing the music in the absence of a destination. It is very difficult for me to compose music without the certainty of how it will be played or recorded, then you know what your music is going to be. That makes it much easier to write and is more stimulating.
Living in Italy, has this had any impact on your music?
I do not think so. I have always listened to and studied a lot of music that is not Italian.
Tell us about a few of your projects.
Currently I am trying to work on pieces for a piano solo. In the future I would like to approach acoustic instruments including sounds produced with electronic means. I’d also like to write pieces with electronic sounds. It’s also been a dream of mine to write music for a wonderful film.
Where has your music taken you across the world? Tell us about some of your adventures.
I wish that my music can cross the world and can be listened with pleasure by a lot of people. I have realized that in the world there is are a lot of desire for music. I wish I could tell you all the curious adventures…. (laughing)
How important is classical music in today’s society? Do you think it has impacted music as we know it today?
If we went classical music to music that is not influenced by fashion and the market…what survives over time is the music that always provokes a desire to be heard, then the classical music is very important. It helps us to understand that art music can have a value that goes beyond the consumer product and opportunity. I think the classical music circuit should expect to apply to a wider audience but to succumb to the lure of the market. The public has the maturity to understand the good music, but we must create opportunities for larger numbers to hear.
Do you play any instruments? If so, what kind?
I studied the organ for the first part of my professional career for which I held many solo concerts. Of course I play piano, but put my hands also on the guitar. I know the operation and the technique of all the instruments except where this is useful for me to write music for instruments that do not play so physically.
Do you have any CDs out? If so, what are the titles and where can people buy them?
I just finished my first CD entitled, ”Al ritorno” and I expect to put it up on sale in the coming weeks. In the meantime, your curiosity can be satisfied by going to this link http://www.mirenzi.it/CD…al% 20ritorno/cd% 20al% 20ritorno% 20inglese% 20.htm
What was the most impressive show you’ve performed at or had your music performed at?
I’m very impressed with the fact that my music also receives appreciation from people not involved in the work; from people who are not accustomed to attend the academic and musical environments where you do not expect a trial immediately positive. Recently, the first execution of my work for chorus and orchestra, I was really struck by the fact that the long applause of the public has joined the loud beat of the feet on the wooden stage of the 50 musicians and 80 singers.
Have you worked with any celebrities or famous people in your life?
Claudio Scimone and the Solisti Veneti were used in July 2008 with my first run composition, “Celeste.”
What’s your greatest accomplishment to date?
If I understand the question, my biggest aspiration is to be able to reach a growing number of listeners happy to listen with pleasure and to listen to classical music that is written in their time.
What advice can you give young composers trying to make it in the business?
Advice to young composers: Find a way to express what is personal but at the same time, take account of how much music there is especially for people who do not forget. This has always historically been of great encouragement to the so-called academic composers. This is one way of expression that goes to the heart of listening and not just to his mind. A way of expression that is full of lightness; we all have a great need.
