A Single Man (limited release)

By Heidi Nast

“A Single Man” is based on a novel of the same name by Christopher Isherwood starring Colin Firth as George Falconer, a college English literature professor (from England) during the 1960s in Los Angeles. “A Single Man” is produced and directed by fashion designer Tom Ford through his Los Angeles-based production company, Fade to Black, in association with Chris Weitz, Andrew Miano and Robert Salerno. Tom Ford and David Scearce wrote the screenplay.    

“A Single Man” is a great highly stylized period piece, a fabulous glass house and colors ranging from sepia hues of the 1960s to shades in black and white circa 1947.  Falconer is dealing with his own grief as he struggles with, “An expression of a predicament by just trying to get through the God-damned day” while finding himself so completely alone (after the untimely death of his lover) in his hushed minority of homosexuality.  The United States is under the threat of paralyzing fear, fear of the Communists, fear of the Cuban Missile Crisis, terrified of nuclear war, the Cold War grew stronger by the day and bomb shelters were the newest home addition.  Falconer’s best friend Julianne Moore as Charlie or “Kiddo” (also from England) copes with all this doom and gloom by drowning her yet-again divorced self with cocktails; morning, noon and night, puffs of cigarette smoke that permeated my senses, 45s on the record player and slurring her words throughout the day on her Princess telephone. Death is their future and silence drowns out the noise of life. Could it be a mystic mention as the movie falls to night, that we see an owl perched on a tree limb and a full moon as the backdrop?  After all, the owl is the watchman of the night, the goddess of the night and the angel of death.  Are owls clairvoyant as the dark messengers that guide the soul to afterlife or is it the only bird of magic and darkness, of feminine and the moon?  This is up to you to decide.

And what else should we expect from Tom Ford, known as an accomplished designer that put Gucci back on the fashion map and in position for the 21st century?  It is a visually stunning art film that may ask viewers if times and tolerances have changed that much. Given this was Ford’s premiere; my hope is that we’ll be seeing a lot more of his artistic genius on the big screen in the years to come.

The film has already won a few awards and the nominations are pouring in. Firth has already snagged a best actor win from the Austin Film Critics. He also has the San Diego Film Critics Society Award win along with best score composer Abel Korzeniowski. Firth has also captured the Santa Barbara International Film Festival outstanding performance award. In the Critics Choice Awards, nominations are for Firth, best art direction, best adapted screenplay for Ford and Scearce, and best supporting actress for Moore. For the Golden Globes, it’s best original score for Korzeniowski and actor nods again for Firth and Moore. Other nominations are for Firth in the Screen Actors Guild. He and Moore also are up for the Washington DC Area Film Critics Association. Don’t be surprised to see some Oscar nominations follow.

The production previews at the historic Webster House on January 20 and 21, opens on January 22 with performances on January 23, 27, 28 and February 3, 4, 5, 6, and 10 and closes on February 11. All Curtain times are 7:00 PM.

Boston Marriage is a wickedly wild ride through a drawing room with infamous American playwright David Mamet’s  trademark tart dialogue and impeccable plotting, generously spiced with Wildean wit. Here Mamet also enters new territories- setting the play in the Victorian era and featuring an all female cast.

Artistic Company member Melinda McCrary directs and the acting company features Cinnamon Schultz, Cheryl Weaver and Rachel May Roberts. Both Ms. Weaver and Ms. Roberts are making their Actors Theatre debuts.

Merriam-Webster defines a boston marriage as a “long-term loving relationship between two women.” The play transports us to Victorian New England and smack dab into Anna’s drawing room as she awaits the return of Claire.  The news they each have for the other launches us into an explosive and deliciously verbal journey as their love changes- perhaps forever. Both hilarious and heartbreaking - the conflicts, negotiations, passions and vulnerabilities of our sharp-tongued heroines reflect the institution of “marriage” in all times and between all genders.  Toss in a troublesome Scottish maid and the bumpy ride is bumpier.   For those who have ever wanted to be a fly on the wall of someone else’s relationship, the intimate seating for this production at the gorgeous Webster House is just what you’ve been looking for.  These three lively ladies will be almost right in your lap.

As Ben Brantley wrote in the New York Times,  “It's girls' night out in Mametville, a time to give the other sex a chance to strut and fret its hour upon the stage...don't expect a gaggle of tough broads with machine-gun mouths...These ladies are refined; they hang out in drawing rooms. And believe it or not, they talk as pretty as anyone out of Oscar Wilde.”

David Mamet is the author of some of the best-known and most important plays in American theatre including Glengarry Glen Ross, American Buffalo, Oleanna and Speed-the-Plow. Throughout his work he has proven himself a master at scripting stories filled with deception, crime and plot-twists. Tying it all together is dialogue written with an acute ear for language and its use in scrabbling for power. 

The production and design ensemble for Boston Marriage includes Production Stage Manager J.F. Mitchell and Costume Designer Jon Fulton Adams.

KCAT’s Boston Marriage production will be a memorable and  delightful evening exploring the feminine side of David Mamet’s works at this exclusive engagement in the period setting of Webster House. Dining specials for ticket holders are available prior to the show. Call 816-221-4713 to make dinner reservations. 

This play contains some strong adult language.

Tickets are available at www.kcactors.org or by calling the Central Ticket Office at 816.235.6222. Please note that this show has limited seating; only 50 tickets are available per performance.

The Book of Eli - An old west tale set in an apocalyptic future

Reviewed by Jason Gregg

I am always hesitant when movies come out in January or February. The Oscar buzz is about last year's performances and the summer blockbusters are still five months away. So, when movies come out this time of the year there is a distinct possibility that the movie is going to have a weak story line and sub par acting. This is not the case with “The Book of Eli.”  For a January movie — it exceeded my expectations. 

I have respect for both Denzel Washington and Gary Oldman and their choice of past roles. Gary’s role in this film was that of the old bad guy running a small western front town 30 years after a nuclear war (I am assuming it was nuclear war, they only vaguely described what happened). He sends his traveling bandits out of town to find the last Bible on earth. He does this because with the last Bible on earth he can reestablish civilization under his reign. It does seem far-fetched but then again it is a January movie so I will cut it some slack. Gary did a great job, reminded me a little of his bad guy character in “The Professional,” but he wasn't over the top with his acting, only when he needed to be. 

On to Denzel, who did another great job. He reminded me of Clint Eastwood in his western movies where he didn't say much because he didn’t have to. Denzel’s actions spoke for him. That leads us into the action sequences. The Hughes Brothers delivered the action with a wallop and without a lot of blood and guts. The first fight scene looked like five silhouettes fighting a shadow of a man. There’s also a shoot out scene where they used some pretty innovative camera shots to put the viewer into the action. The action was quick and to the point and just as important, it was memorable.  

We covered the actors and the action, so what about the story? The story could have taken place in the Old West just as it could have taken place in an apocalyptic future. It was simple and didn't have many confusing elements to it. The premise was to get that Bible. Denzel’s job was to head west to deliver the last copy of the Bible to someone. He does everything in his power to protect the book. Since the Bible is the main focus of the hunt there are some religious overtones but nothing too heavy.  There is also a good use of humor, something totally unexpected considering the drabness of the film. 

The camera helped in telling much of the story. Through much of the movie the camera and landscape was all that was needed to carry key elements in the story. In one scene Mila Kunis’ character was attacked and instead of talking about it afterward, the camera took time to focus on her reaction to the situation.  There are also several shots of Denzel walking in the desolation showing the audience the ruined landscape. Dialogue couldn’t have added much more.  

Should you see this movie? Yes. Even though it won't get Oscar nods or be the next big summer blockbuster, it will still keep most people entertained. The ending might make you want to see it a second time to see what you missed the first time. All I am saying is keep your eyes open.  

The Book of Eli

A movie review by Alexander Morales

I knew it.

I just knew, immediately after watching the first released trailer for “The Book of Eli” that I was going to hate this film. From the first shot shown of Denzel Washington walking in worn, layered rags, I thought that this was just another version of “the crapfest” known as Kevin Costner’s “The Postman.” I remember even shaking my head and saying to myself, “Oh Denzel, why?”

I was disappointed. I was shocked. I was irritated.

And, I was wrong.

Directed by Albert and Allen Hughes (Menace II Society, Dead Presidents From Hell), The Book of Eli is a methodically, mature telling of one man’s mission through faith. Set in a post-apocalyptic America, the film follows Eli (Washington) in his quest to protect and deliver the last remaining copy of the King James Bible to somewhere in the west. After 30 years of walking, the end is almost near and all around him are the scavengers, survivors and families trying to scrape a living after the “big flash.”

Society is hanging by a thread.

Taking advantage of that thread is Carnegie (Gary Oldman), the ruler of a small town where he and his thugs control everything through force and fear. Coincidentally, Carnegie has been sending search parties out looking for a Bible, because, like Eli, he was around before the “big flash” and understands the power of what faith will give him over the lost leftovers of mankind. Thus their paths are intertwined.

I’m not sure if impressive is the correct word to use to describe this film, but the quality of the story acting and production were all top notch. The Hughes Brothers have successfully taken a landscape and allowed themselves to make something, while not incredibly original, very interesting. Nothing in their vision of tomorrow is untouched by the evils of society and, while maybe falling into some fashion clichés, holds true to what they were trying to deliver.

I was most impressed by the way all the main and sub-characters were handled. Each, while holding true to their cultural context and their roots in the bible, were very well-rounded and had a true purpose for being involved. I was especially happy that Mila Kunis’ character, Solara was not the generic damsel in distress just along for the ride. She had knowledge, survival skills and a reason for falling into Eli’s life. At the same time, you have to give Ray Stevenson a lot of credit for his portrayal of Carnegie’s right hand enforcer. Steveson is big and menacing and it would have so easy for him to fall into stereotypical heavy role. Instead we get a small voice of reason in Carnegie’s obsession with his own desires and qualities of a person trying to enforce order amongst chaos.

At the same time, I really appreciated the pace of the film. While I am not an extremely big fan of slow moving films, the pace helped the audience stay intrigued, interested and asking what was coming next. This is especially true when, as the film winds up, everything comes into focus, and you realize all the subtle clues that were in front of you along the way.

What I did not like was the ending. Not because it didn’t make sense and not because it was poorly handled, but because of what it says about our overall society and our western culture. Eli’s mission is to protect and deliver the word of the Lord to somewhere safe and while I will not go into the actual events of the film and spoil them for you, I was disappointed on where the word is placed. That’s all I’ll say.

Overall, The Book of Eli is a surprisingly well-acted, high-quality, cool film. Washington and Oldman do their usual best and while I think it will be easy for some to find it’s flaws, I am sure you won’t be disappointed with the experience.

3 out of 5 sets of Sunglasses

Area firms showcase creative talents in CANstruction

Exhibit displays fantastic structures made from cans of food

By Kellie Houx

In just 12 hours on Wednesday, Jan. 13, 16 teams of Kansas City architects, engineers and contractors showed off their can-do spirit creating amazing structures using cans of food in the Union Station lobby. There were igloos made from water bottles, tornadoes of beans and other vegetable cans and often a mix, especially of labels because of their color.

Johnny Kung, an architecture and design manager from Knoll, serves as the co-chair for this year’s CANstruction event. It’s also his fourth year to help out. “While it is all for fun, there is an intensity that comes from the firms when they are designing and building their structures here. Plans are created and drawn up, just like any other structure. However, there isn’t the worry about codes and other requirements. The only big things are the use of imagination, some safety and the plan to make sure the structure stands for about a month.”

CANstruction is an international program of the Society of Design Administration that calls on teams to design and build creative, colossal sculptures made only from canned food and other non-perishable food items. “From an architectural point, these structures are more art than anything. However, it’s great for team building. There are leadership opportunities among the teams and even among the CANstruction committee. Primarily, it’s a way to give back to the community. I look at this as my annual service project,” Kung says.

“CANstruction is especially important this year, when many more people in our community are at risk of hunger,” says Karen Haren, president and CEO of Harvesters. “The cans of food used to create these fantastic structures will help Harvesters provide thousands of meals to hungry families at a time when the need for emergency food assistance is greater than ever.” Harvesters is this area’s only food bank. Serving a 26-county area of northwestern Missouri and northeastern Kansas, Harvesters provides food and related household products to more than 550 not-for-profit agencies including emergency food pantries, soup kitchens, homeless shelters, children’s homes, homes for the mentally disabled and shelters for battered persons.

When the exhibit closes, the cans are donated to Harvesters, the local food bank. During its nine-year history, CANstruction has provided more than 206,000 pounds of food —more than 158,000 meals — to feed the hungry. Last year, the 15 participating teams used more than 33,000 pounds of food, supplying Harvesters with nearly 27,000 meals.

The exhibit opens to the public on Friday, Jan. 15 and runs through Feb. 10. Sponsors of this year’s event are Price Chopper, Focus Architecture, BRR Architecture and Henderson Engineers, Inc. Kung says Price Chopper this year donated all the canned items. Last year, more than 40,000 cans were used. He projects 50,000 this year.

Sculptures will be judged in the categories of Best Meal, Structural Ingenuity, Best Use of Labels, Jurors Favorite and Honorable Mention by a panel of judges, and those winners will be announced at the opening reception. Judges this year include Stretch, local artist and Grinders owner; Josh Eans, Blanc Burgers & Bottles; Alan Johnson, Alan Johnson Designs; Darcy Rapp, Wallace Engineering; and Diane Smith, Harvesters’ board of directors. Kung says Best Meal is a challenging category because often the canned foods are chosen for the colors of the labels and not necessarily for the product inside the can. However, if a team succeeds here, the idea is that a full meal could be made from the choices in the cans.

The People’s Choice Award winner, announced at the conclusion of the exhibit, is determined by donations at the exhibit. Visitors to the exhibit can vote for their favorite super-sized masterpiece with financial donations to Harvesters. Because Harvesters can provide five meals with every $1 donated, every vote matters. Last year’s winner of the People’s Choice Award was The Ripple, created by HOK Sports+Venue+Event.  Kung says this is a favorite because it is a vote of tremendous support from the people.

BRR Architecture, Merriam, one of the event sponsors, also had a team producing an eight-feet-tall round structure made mostly of salmon and tuna cans. The round structure features four Marilyn Monroe faces, taken in the style of pop artist Andy Warhol. About 8,500 cans are in the structure. Sarah Vandiver and Brandy Anderson, two employees, used some of their community service hours that the company offers them. They worked on two of the four faces. “It’s something we all enjoy doing,” Vandiver says.

A team from Clark Enersen, Briarcliff in the Northland, created a 7-foot-tall Shuttlecock. This year is the first for the architectural firm. Architect Andrea Anderson says the team wanted to create a Kansas City icon and many thought of the Shuttlecocks at the Nelson-Atkins Museum of Art. The museum staff and community just marked the 15^th anniversary of the four placed sculptures on the lawn of the Nelson. “They are just unusual enough and recognizable.”

The six winning entries also will represent Kansas City in the national CANstruction competition. The winners of the national competition will be selected and honored at the Society of Design Administration’s national meeting in May.     

Participating teams in Kansas City for the 2010 event were ACI/Boland; Black & Veatch; BRR Architecture; Christ Preparatory Academy; Clark Enersen Partners; Focus Architecture; Gastinger Walker Harden Architects; George Butler Associates; Hoefer Wysocki Architects; Patti Banks Associates/Moody Noland; Populous; Tevis Architects/Prosser Wilbert Construction; Treanor Architects; University of Kansas Interior Design; Urban Prairie Architectural Collaborative; and WJE Healthcare Architects.

www.harvesters.org

2009 Year-End Thoughts from KC Studio

By Editor; Kellie Houx

So the calendar has been turned to 2010, but the staff at Townsend Communications KC Studio Magazine wants to take just a few minutes to reflect on 2009. Like many in the United States and the metropolitan area, we experienced the highs and lows of 2009. We understand the difficulties of the economy and the challenges we all face, but we also understand and appreciate how we all are still persevering despite the larger economic troubles.

2009 marks the first full year of KC Studio Magazine. Granted, we started with the May/June 2008 issue, but for many of us, 2009 really was the year we hit our stride with KC Studio Magazine. However, KC Studio is created by human hands, much like any artist throwing clay on a potter’s wheel, and the magazine continues to improve and change. It is a learning experience, each and every issue.

The 2009 year started with a celebration of the steel beams being placed at the Kauffman Center for the Performing Arts. A year later, the main structure is up and work is going on inside the building with plasterers and welders creating halls that will be musically appealing. Galleries around town offered a mid-winter’s break from the blahs and the Marching Cobras, Kansas City’s veteran drill team, marked 40 years. KCPT celebrated the return of “The Electric Company” and locally, “Check, Please! Kansas City” kicked off with a six-part series that brings in real people to serve as food critics.

By March and April, the year was in full swing and the Kauffman Center for the Performing Arts was promoting the Children’s Wall, designed to capture the handprints of some of the city’s smallest fans. The center staff also encouraged ambassadors to share the story. Apprentices from the UMKC Conservatory are part of the Lyric Opera Young Artist Program. The Elders, Kansas City’s own Irish band, marked the 7^th Hoolie and Independence native Ginger Rogers’ story was told on the American Heartland Theatre. And Theatre for Young America celebrated its 35^th anniversary. KCPT started exploring programs like “Imagine KC” and “Bad Blood: The Border War that Triggered the Civil War.” 

In the May/June issue, collaborations were noted. “Celebration at the Station” united several forces in the Kansas City area – Union Station, the Kansas City Symphony and KCPT. The Bach Aria Soloists united with the Owen/Cox Dance Group for a unique offering of classical music and modern dancers. KCPT and the Kansas City Zoo celebrated the renovated Tropics Building and encouraged animal lovers to watch “Nature.” The National Archives-Central Plains Region moved next to Union Station, offering visitors a potential look at thousands of records. KCPT also recognized a new president, Kliff Kuehl.

In July and August, KCPT launched its new streaming video service, continued to honor the “American Experience,” and uncovering hidden treasures in “Heartland Staycations.” Kauffman Center for the Performing Arts gets a nod or two from business leaders in the area. Theaters in Kansas City mark their time outside and under the stars. Plus the Kansas City Zoo continued to honor their 100^th anniversary.

In September and October, Kauffman Center for the Performing Arts staff shares the story about how the glass in the Grand Lobby withstood structural testing that mimicked possible weather conditions in Kansas City. HCA Midwest Health System also announced they will lead the First Aid Room.  Kansas City Repertory Theatre’s Artistic Director Eric Rosen shared his views as he started his second season with the theater company. The critically acclaimed Oxford Project, by photographer Peter Feldstein and writer Stephen Bloom, (27 multi-paneled images came) was displayed at the Belger Art Center. Locally, KCPT started showing the history series, “Meet the Past … with Crosby Kemper III.”  The Kansas City Public Library director interviewed actors playing famous Missourians and Kansans over the summer. 

The last issue of the year, November/December, gave proof that a magazine is created by human hands and ever changing. The size moved to a more traditional magazine look. The new size and the approaching holiday warranted a unique cover. Contributing cartoonist Charles Barsotti, who draws for the New Yorker, shared his Pup and a red-nosed reindeer. The simple, joyous image helped illustrate the holiday shows. Executive Director J. Kent Barnhart and Managing Director Rick Truman showed off major improvements at Quality Hill Playhouse. The Performing Arts Series at Johnson County Community College, led by Charles Rogers, continues to bring in top acts to the Midwest. Dick and Maureen Durwood shared how to make a substantial gift to the Kauffman Center for the Performing Arts and support Kansas City’s arts.

Well, the year has come to an end. As the calendar turns to 2010, Kansas Citians will still seek out quality live entertainment at a reasonable price. They will seek out quality television and find out what they need in our KC Studio magazine. We thank each of you for reading KC Studio and telling your friends about us.  KC Studio is unique in Kansas City; the only philanthropic magazine that remains the largest direct-mailed magazine to 35,000 patrons that support either KCPT Public Television or the Kauffman Center for the Performing Arts. 

Girl Scout Daisy Troop Goes Green and Creates Art

In 2012, the organization Girl Scouts will celebrate the 100th anniversary of Girl Scouting in the United States.  To mark this milestone and honor the founder, Juliette Gordon Low, Girl Scouts of all ages are engaging in a nationwide, annual, signature community action project called “Girl Scouts Forever Green.” Girl Scouts of all ages are pitching in and sharing the good news about the community. Reusing and recycling to make art or crafts encourages creative thinking and problem solving. Kids are challenged when they're presented with solid waste as art materials.

One such group, a little like resembling the idea that the smallest child can make the greatest impact, is a Daisy troop out of Northview Elementary in the North Kansas City School District. Troop co-leaders Debi Kennedy and Ann Stepp wanted to see what their girls in troop 2094 could do to help the environment. They picked up trash at a local park. Kennedy took the trash and sorted it for use in an art project. She also disinfected the pieces. Some of the pieces that worked included bottle caps, water bottles, old pens, and candy wrappers. Kennedy created a wooden pumpkin and the girls decorated the piece with the trash and then painted everything.

Their daughters, who are first-graders, talked about their art. Ainslee Stepp, Grace Kennedy and Madison Swafford, another friend, all liked picking up trash. Grace says the work was tiring, but cool. Ainslee says their actions are helping to save the planet. Grace says the world is a little cleaner.

“Art is a chance for exercise for your hands,” Ainslee says. Madison says she likes to paint and draw. “It’s worth letting the girls see what art can mean,” Stepp says. Kennedy says the school staff will hang the pumpkin to demonstrate what the Daisy troop has done.

www.girlscouts.org

Images Art Gallery Presents Fourth Annual Student Art Show

Artists from Images Art Gallery, now located in Overland Park, reach out to public, private and home-schooled students to encourage art. The Fourth Annual Student Art Show is designed for preschoolers to students in the eighth grade. Co-chairwoman Norma Herring says the gallery enjoys reaching out to the youngest artists. “We get parents and children into the gallery. They get to see their art hung in a professional setting.” Co-chairwoman Dawn Thomas, a retired art teacher, says many children and parents love coming to a gallery opening. “We value children and promoting their self-esteem.”

Last year, the gallery contest had 66 entries. “We had people wanting to buy the children’s art last year.” Thomas says. “Parents, teachers, siblings and the community enjoyed the art. It really was a win-win for everyone.” This year, Thomas and Herring are reaching out to schools within the metropolitan community on both sides of the state line. The deadline for applications is Jan. 9. Parents must bring the art to the gallery between Jan. 14 and Jan. 16. The show opens Jan. 19 with an opening reception Jan. 21.

Herring says she knows children appreciate when parents bustle about art. Her own children watched her learn watercolor and became interested in creating art. She then worked on an art show for them. “Now my daughter is a graphic artist and my son is a musician. Art can be nurtured or not. We have to help students find their inner artist.”

Thomas, who abhors when districts get rid of art programs, knows the documentation that demonstrates how much children improve in all school subjects if they are allowed to express themselves through art. “We have to make connections to art for ourselves and our children. Art is around us in the interiors of our houses or in the planning of schools. We have to see art and encourage that.”

Children in preschool through second grade will be in the first age division. Third- through fifth-graders are the second group and children in middle school, sixth- through eighth-grade, are the third division. A high school show might be part of the gallery’s spring calendar. Art awards of first, second and third place ribbons are given in each age division. Artwork is professionally displayed in the gallery and juried by a panel of area artists. Each child will receive a participation ribbon.

The original art may be 2D (paintings, drawings, photography) no larger than 16" x 20" and should be framed and ready for hanging. 3D art is also encouraged such as sculpture, pottery or jewelry. Herring says if parents reach out to her, she can offer suggestions for framing.

www.imagesartgallery.org   

Special Touch Quartet Readies for Valentines and Other Events

Barbershop music often conjures up images of four men in stripped vests and straw skimmer hats, singing music of a bygone era without instruments. Well, folks, the ladies have stepped up to the plate too and are finding sweet harmonies.

Sweet Adelines, the women’s counterpart to the Barbershop Harmony Society, includes a Kansas City chapter. Within the larger chorus are several quartets, including the 2010 International Champions, Zing!. While Zing! lead the way, other quartets are striving and sharing a camaraderie that comes from years of sharing an art form. One such group is Special Touch. Since October 2003, four professional businesswomen from seemingly the four corners of the metropolitan community have united in their love to sing — Barb Patton, lead; Ruth Anne Decker, tenor; Stacy Patton, baritone; and Lori Carrender, bass.

All four women hesitated a little before joining the Sweet Adelines. Barb has been singing the longest and was encouraged by her preacher’s wife. “I didn’t want the commitment, but after one night I was hooked.” Having known Stacy all her life, Barb started taking Stacy with her after Stacy started dating Barb’s son Brian. “I had just graduated high school. That was 12 years ago.” Barb says, “If Stacy was going got be part of the family, she needed to see this. My children grew up in this. My son even proposed to Stacy in front of the chorus.”

Carrender came to the chorus with a family background in barbershop. Her parents and grandparents had a mixed quartet. “I grew up around this music. When my aunt moved from Pensacola, Florida, she asked me to come with her to the Sweet Adelines. I saw women having fun and I was hooked.” Decker was also born into it — her mother still sings with the choir. “I went to rehearsals and she told me I could join when I grew taller than her. With my work, though, I now sing with just the quartet.”

Before a Christmas rehearsal for the Sweet Adelines more than six years ago, the four women decided to see if they could sing together. They have been singing ever since. “Our personalities all work together. We take everything with a grain of salt and a great sense of humor,” Carrender says. “When we are together we like to sing. With this art form, it is proven that the longer you sing, you learn what you can do with your voice. It grows and gets better. We can be that much better so we push ourselves.”

The quartet has sung for weddings, anniversaries, the American Royal, baseball and soccer games and Singing Valentines. For two years, the women have performed Singing Valentines. “We went to a meeting at Argosy Casino and sang. We had to stop singing because we were laughing so hard. We had to regain our collective composure,” Barb says.

The other joy is to bring an interest in to younger women. Barb says the chorus sponsors a group of younger girls called the La-Ti-Dahs! “There are so many who don’t know about barbershop. We want younger women to help keep this art form alive. We are all about ‘real harmony, real women and real fun.’” On Feb. 20, the Heart of America Barbershop Chorus and the Kansas City Chorus of the Sweet Adelines sponsors the annual Harmony Explosion. Junior high schoolers and middle schoolers compete in men’s and women’s quartets and sing in a large chorus.

“The ballads we do are about love and passion, heartbreak. ‘Kiss Me One More Time’ is great. The music may be different, but the message is something young people understand,” Carrender says. “It’s sung with the right sort of emotion. The big difference for the guys in the Heart of America group and for us … we don’t hide behind instruments. There is a great connection that occurs between us and the audience.” Barb says there is a lot of flirting going on. They have sung at rehearsal dinners and flirted with the groom, Carrender says. “It’s about embarrassing folks in a nice way,” Decker says.

The women have also organized a benefit for Shauna Heck, a young woman battling cancer. The Jan. 10 event at Summit Lakes Middle School has six quartets performing (as of Nov. 21). “The barbershop community is a lot like family,” Carrender says. “You can count on the Sweet Adelines,” Stacy says. And if you don’t believe it, just as the ladies what their favorite song is and all four of them exclaim, “We Go Together” from “Grease.” “It really symbolizes us,” Barb says.

www.specialtouchquartet.com

Back By Popular Demand

Störling Dance Theater Readies for ‘Underground’ Again

Collaborators Jeremiah Enna, Mona Störling-Enna and Tobin James are again uniting to share the story of a runaway slave, making her way north via the Underground Railroad in the dance performance titled “Underground.” The show will be at 7 p.m. Feb. 12 at the Music Hall. Jeremiah is the executive director of the Culture House and Störling Dance Theater. His wife, Mona, is the artistic director and James is the assistant artistic director.

Mona says the ballet’s main character Victoria, played by James, must leave her children behind. “I am really pleased with the depth,” Jeremiah says. With dance, there are abstract moments and moments that may seem larger than life. Mona says one powerful scene stays with her as a runaway slave’s body is dragged through a ball scene. Jeremiah says dance can freeze a moment and allow expression to sweep from the stage and into the audience. “As the main character, Tobin gets to connect with her anger and grief. “There is something powerful that dance can convey in telling stories.”

Now the group has decided to make this performance the launch for a larger vision that might be a yearlong project to include lectures and exhibitions. “We had the seed of hope that the show would be good and well received. We were encouraged by the response and three other cities have approached us to perform. We know people are flying in to see the show,” Jeremiah says.

Jeremiah says he is glad to share this hopeful, inspiring production again. “People are hungry for a relevant, positive resolution toward our history. We have to go forward as Americans. We will perform this work in February, which is traditionally seen as African-American history month. I really believe it is American history month. It might be a dark history, but we need to know about this,” he says. “People appreciate the story. It is a brutal part of our history, but good persevered. We have to be united toward doing good things.”

www.storlingdance.com