Ballet Print - On Pointe - Online

This high quality fine art print is 8" by 10" and printed with archival inks on 140lb 100% cotton watercolour paper.My Mom claimed the original painting as soon as it was dry and put it on her wall. I`m hoping that this print will bring equal pleasure to others!This print ships in a non-bendable photo mailer after being wrapped in protective plastic.To see more paintings and prints check out the rest of my shop!http://www.etsy.com/shop/rachelledyer

The event, which is free to attend, starts at 7 p.m. at the SoFA Market, 387 S. First St. Register at https://imaginesj-food.eventbrite.com. If you haven’t seen the show, City Lights Executive Artistic Director Lisa Mallette, who also directed the show, says it’s been extended to Aug. 30. Get ticket information at www.cltc.org. Fans can get their root beer floats for a $5 recommended donation that can go to the Leukemia and Lymphoma Society, Mothers Against Drunk Driving or the Earthquakes Community Fund. Last year’s event raised $10,000, but I think the Avaya Stadium crowd can top that.

Founded in 1999 by choreographer Julia Rhoads, Lucky Plush has earned a reputation for its clever, playful productions, “The Queue” grew out of a residency in New Zealand, when Rhoads started thinking about airports as places where “these very heightened moments occur when we’re on our way to a wedding or funeral or business deal,” she says, “As we’re ballet print - on pointe getting close to security, there’s this process of getting rid of your water, taking clothes off, preparing your carry-ons for inspection,” she says, “Maybe you’re overhearing something very private (in) these weird circumstances where lives intersect.”..

Created by Rhoads and Leslie Buxbaum Danzig, co-founder of the Chicago cabaret troupe 500 Clown, the piece draws upon the antics of silent-film comedians Charlie Chaplin and Buster Keaton, as well as on Busby Berkeley-style Hollywood choreography. It also borrows a plotline from the 18th-century farce “A Will and No Will; or, A Bone for the Lawyers.”. Featuring seven performers, “The Queue” was developed in collaboration with the award-winning neo-vaudeville duo the Claudettes — pianist Johnny Iguana and drummer Michael Caskey.

“We definitely wanted the musicians … integrated into, and provoking, the action,” Rhoads says, “When the travelers are discovering they might be related, Johnny Iguana (does a) song about how they might be connected.”, Rhoads and Danzig’s previous ballet print - on pointe collaboration — “The Better Half” (2011), exploring the fractious nature of many romantic relationships — was commissioned by Chicago’s Museum of Contemporary Art, Longtime friends, Rhoads and Danzig bring complementary skills and a kindred sense of humor to their work..

While borrowing a scenario loosely based on “A Will and No Will” — a farce about a lecherous schemer named Sir Isaac Skinflint and the younger relatives angling for his money — “The Queue” takes its visual cues from the slightly accelerated action in silent-film slapstick. “One question we started with is simply what makes something funny, especially in … slapstick and vaudeville,” Rhoads says. “A lot has to do with timing.”. Part of the fun of watching Buster Keaton is the speed at which the film runs, which slightly speeds up the movement, Rhoads continues. She and Danzig choreographed “The Queue” to replicate that effect live.

Rhoads, a Chicago-area native, actually started her intensive dance training here in the Bay Area, After graduating from high school in 1990, she enrolled in the San Francisco Ballet School and then spent a year as an apprentice in the company, Unsure whether she wanted to devote her career to dance, she decided to return to school, While earning a history degree from Northwestern University, she worked with the (now-defunct) modern dance company XSIGHT! Performance Group, “XSIGHT! opened my mind to a lot of different ballet print - on pointe performance possibilities,” she says, “For me, the theater part of dance-theater is very much about relationships and creating a space for the performers to be in real-time response to each other, Typically, I don’t do linear narrative work, But because ‘The Queue’ is about moving through an airport, it ended up having much more of a linear plotline.”..

The show runs July 31 at 8 p.m., Aug. 1 at 2 and 8 p.m. and Aug. 2 at 2 p.m. For tickets, call 925-943-SHOW or go to www.lesherartscenter.org. Also at the Lesher Center, jazz aficionados won’t want to miss the Center’s Jazz Series, which starts Aug. 1 at 5 and 8 p.m. with the Clayton-Hamilton Jazz Orchestra. The all-star lineup of musicians will play lots of big-band favorites while mixing in popular contemporary tunes. The series continues with legendary pianist Dick Hyman, saxophonist Harry Allen and clarinetist Ken Peplowski on Aug. 8; Cyrus Chestnut, Joel Frahm and Warren Wolf on Aug. 22; and Grammy-nominated guitarist Dr. Martin Taylor and Bucky Pizzarelli on Aug. 29. For more information, call 925-943-SHOW or go to www.lesherartscenter.org.

You still have time to see two very different shows, The first, a lavish production of “The King and I” at Livermore’s Bankhead Theater (2400 First St.), takes you to the faraway kingdom of Siam, The second show at Alameda’s Altarena Playhouse involves an inward journey as radio personality, comedian and playwright Brian Copeland presents an intimate look at depression and the people who suffer from the disease, Patricia Krohn-Pope’s gorgeous costumes dominate Tri-Valley Repertory’s story of the King of Siam and the English governess whom he hires to teach his many children, Musical director JoAnne Fosselman and her orchestra handle Richard Rodgers’ lush compositions with ease as ballet print - on pointe they fill the theater with such well-known songs as “Hello, Young Lovers,” “I Whistle a Happy Tune” and “Shall We Dance?”..

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