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To honor Fremont’s Indian community, the program will present both western orchestral works, such as Beethoven’s “Egmont” overture and Chopin’s piano concerto in E minor, together with music and dance from the subcontinent. Featured will be Indian-American composer Juhi Bansal’s “Where Shadow Chases Light,” which had its world premiere last year with Oakland East Bay Symphony under Morgan’s baton. The symphony will also perform new works by Ali Akbar Khan in the classical Indian style arranged for orchestra and soloists on traditional Indian instruments.
On Saturday, the cast was rounded out by Joan Boada who, like Nedvigin, is also in his final performances with the company, He looked dashing with a streak of gray in his pink ballet set of 10 buttons ballerina princess tutu cute 1 inch pin back buttons 1" pins or magnets hair playing Prince Gremin, Tatiana’s husband, The corps de ballet ticked off a series of full-throttle, criss-crossing jetés on the downstage diagonal with such energy that the Opera House stage seemed to shrink with their force, and the women’s ugly empire-waisted dresses with cap sleeves seemed to fade into the background..
2. Most practical costume: Lady Gaga’s unitard. Lady Gaga had plenty of costume changes, but they were all over her black unitard, which allowed her to dance, play guitar and keytar and jump into the audience with ease. Also, where did she get those tights? All of that dancing and suggestive writhing and she had no runs in them at all. We see an infomercial in her future. 3. Best explanation for sound issues: Aliens. Radiohead battled through some major sound problems on Friday night, with the music cutting out multiple times. Singer Thom Yorke blamed alien interference, but then they played “Creep” and all was forgiven.
Once inside CMT, a 25,000-square-foot edifice with a warren of offices plus seven studios (there’s also a 17,000-square-foot set/scenery shop), future Oz cast members go through an informational meeting, get their conflict calendar reviewed and register, The big moment arrives when they are ushered in, in groups of 10, in front of director Laura Eglin, choreographer Claire Alexander, vocal director Neda Lahidji and Kristine Grim, the stage manager, Under the watchful eyes of their parents, who are seated against a wall, all the hopefuls show off the new dance routine they’ve just learned, Then, one by one, they step up in front of Eglin and the others, Each must sing–either a capella or with the help of a CD they’ve brought–then recite one of pink ballet set of 10 buttons ballerina princess tutu cute 1 inch pin back buttons 1" pins or magnets several lines from the play, The song choices range from “Popular” from Wicked to “Alone in the Universe” from Seussical the Musical, One boy even does a back flip in the middle of his tune..
Q You bring a toolbox of talents to your job, am I right?. A I am new as a presenter, so I’ll give you some other tales. In my 20s, I did a few very small things, cabaret and such. Later I wrote and presented shows for corporations and associations; I wrote special lyrics to “West Side Story’ for a solid-waste management convention, also stuff for Toshiba. I was “Danny Sincere” in an incandescent lounge suit at a couple of trade shows. Q Are you a musician?. A I played clarinet as a kid, then bassoon, which I majored in at the San Francisco Conservatory of Music. I was a self-taught pianist, however, and was a professional musician-arranger-producer-entrepreneur for 20 years. I accompanied singers in such styles as cabaret, jazz, opera, blues, African highlife and pop. I arranged and recorded tracks for ventriloquists, exotic dancers, ice shows (including for Charles Schulz in Santa Rosa) and ballet. With Michael Smuin, I did arrangements for Siegfried and Roy (a Vegas production that ultimately didn’t fly), as well as for “Anything Goes” on Broadway, for which Smuin won a Tony Award for choreography.