The Orlando Philharmonic Series Program 1 Featured Music Director Finalist Alondra de la Parra

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I went to a rehearsal at the Bob Carr Performing Arts Center for the Orlando Philharmonic Orchestra. Music Director Alondra de la Parra was conducting. I sat a few rows back from the stage and started sketching. As the orchestra warmed up with the usual cacophony of unrelated instrumentation, I blocked in the stage and seating arrangement. Since Conductor Christopher Wilkins left, the orchestra has been looking for a new conductor. Apparently it is a buyers market since so many orchestras have had to fold or cut back after the financial crisis in 2008. Ten people make up the selection panel. Half of the panel are musicians from the Orchestra and half are civilians. There were many applicants for the conductor’s position. If any one person on the selection committee voted no, then that conductor was removed from the list. Five conductors remain after that process.

Alondra is in her 30’s and brought an undeniable energy to the rehearsal. The first piece rehearsed was Symphony Number 1 by Gustav Mahler. The music moved along lyrically and then built in energy and drive. There were moments of absolute magic that could lift you up to defy gravity.  Because it was a rehearsal, there were moments where the music stopped and Allondra asked a single section of the orchestra to perform their part and she helped them become more unified or crisp in their parts. “It’s all about placement and color.” she said. She could have been talking about a sketch.

The next piece was Danzon Number 2 by Arturo Manquez from her native Mexico. At times the music was brash with a high spirited exuberance. My foot was tapping to the off beat and I couldn’t stop my body from moving to the beat. This had to be the first time I felt like I should get up and dance in the isles as the orchestra performed. “Keep it fresh and spirited.” Alondra said. Then suddenly much of the orchestra grew quiet as a core group of players performed with a slow authority. She explained that these were the old timers who knew how to keep a performance simple and real. When the piece was over, Alondra complimented the soloist saying, “Great solo, you may not know it, but you are part Cuban.” She brought an amazing new energy to the orchestra and Orlando would be lucky to have her if she is selected as the new Music Director. She has a few commitments with an orchestra in Mexico and Japan, but hopefully that wouldn’t interfere if she were to be selected as the orchestra’s new Music Director. Each of the four other finalists will be featured conductors in the coming months. I hope to watch to see what each brings to the table.

AIDA

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Years ago I saw the opera “AIDA” at the Bob Carr Performing Arts Center. It was an excruciating experience with a Nubian princess singing endlessly about her impending death. She would pause for a long moment and I would think, “Finally.” But then she would start singing again and I would be thinking “Die already!” I dug my fingernails into my palms to stay awake. This new Clandestine ARTS production with music by Elton John and Tim Rice, is a refreshing new take on the story.

 On the banks of the
Nile, unfolds the triumphant tale of love that transcends warring
nations and brings a country together. A contemporary musical take on
the classic tale of timeless love. An enslaved Nubian princess, Aida (LaDawn Taylor), finds her heart
entangled with Radames (Tony Flaherty), an Egyptian soldier who is betrothed to the
Pharaoh’s daughter, Amneris (Emily Grainger). As their forbidden love blossoms, Aida is
forced to weigh her heart against the responsibility she faces as leader
of her people. Aida and Radames’s love for one another proves
transcendent of cultural differences and ushers in a time of
unprecedented peace between the warring nations.

Before the run through of the show, Emily had to rehearse several frantic costume changes. She was the first actor to arrive at The Venue and she was singing and dancing as she entered. Two seamstresses were at there sewing machines completing costumes during the rehearsal. In the scene, Emily sang a song about her strongest suit which happened to be her looks and fashion sense. In the final moments of the scene, she ripped off her red dress with the help of two slaves and then she was showered with golden pedals. The dress was held on with Velcro and it was a challenge to fling the garment behind her fast enough. The scene had to be rehearsed again and again which gave me extra time to sketch. The song is hip and seems to perfectly apply to today’s selfie generation. 

The music kept reminding me of the Disney Animated Features I worked on in the 1990s. The princess singing about he lack of freedom reminded me of Jasmin from Aladdin. LaDawn’s strong African American chiseled features made her a perfect fit as AIDA and she sang beautifully. Tony as Radames had some strong chemistry in his love scenes with AIDA. As in the Opera, the two lovers were destined to die yet their love softened the heart of Pharaoh’s daughter. Produced and directed by Derek Critzer, this is a huge extravagant production with projections offering exotic settings. Derek keeps the production hip and playful, like a scene in which a male dancer comes out in a costume covered in plastic bubbles. A runway was built up the center isle allowing the cast to walk out into the audience. At times, the chorus sang from the back of the theater giving a full surround sound experience. This is a huge, fresh, yet intimate production with strong singing and dancing, who could ask for more!


Mark your calendar! Show times…
June 14,16,19,20,21,22,26,28 @ 8:00 PM
June 27 @ 7:00 PM
June 29 @ 3:00 PM

Performances are held at “The Venue” located at 511 Virginia Drive, Orlando FL.
Tickets are $20.00 and may be purchased at www.clandestineorlando.com
Industry Night Special Offer Monday June 16th @ 8:00 PM
Tickets will be $15.00 Each!

My Pecha Kucha Presentation

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I love to draw.

On January first of 2009 I set a New Year’s resolution to post one sketch a day online. 

I had wanted to start a blog for over a year. 

It was surprisingly easy to post my first sketch and copy on Analog Artist Digital World.

My wife Terry and I moved from New York City,
and for ten years I worked for Disney Feature Animation here in Orlando.

Perry, shown here, worked in the office next to me.

The studio was shut down in 2004, because Disney executives felt,
that audiences didn’t want to see hand drawn animation anymore.

They only wanted to see computer animation.

I purchased a computer and taught myself CG animation at home.

After years of sitting in a dark room staring at a computer screen, I needed to get out and sketch.

Many early sketches were of buildings downtown, like this sketch of Church Street.

As I sketched, people would often stop to tell me their life story.

I help keep the tradition of hand drawn animation alive at Full Sail University, by teaching the principles of animation using pencils and paper before students start pushing buttons on computers.

When I began doing one sketch a day, I honestly thought Orlando had little to no culture.

I had spent ten years driving to and from Disney, and felt that Orlando must only have the heart of a theme park animatronic.

 I found these drummers in the Creative Engineering warehouse downtown.

I couldn’t imagine much culture happening in this service industry town.

 Yet with every sketch I did, I began to discover artists with talent.

I found people in every field, like Toni Taylor, shown here in her studio,
who are striving to express themselves.

 I seek out artists who love what they do and promote them with a sketch and an article.

By promoting them, I get to share with my readers what I feel is the true heart of Orlando.

I am NOT an extrovert.

 I’m only comfortable when clutching pencil and paper.

When I drive to events, I pump up the music in the car to overcome stage fright.

 I used to walk around the block several times to work up the nerve to start a sketch.

That feeling has slowly subsided, being replaced by stubborn determination.

In a crowded room, I find it impossible to focus on any single conversation,
I hear the overall din.

Small talk is not my strong point.

If I start to sketch however, a sense of calm washes over me.

While focusing on the sketch, nothing else matters.

By going out every day, I began to meet people who frequent the same events.

 They recognize my desire to sketch what is unique, and they include me in amazing sketch opportunities, like this gut wrenching blimp ride over Universal Studios.

Finding interesting stories is an ongoing challenge.

Though I tend to sit quietly observing, I am at times thrust into the limelight.

To get this sketch at the Bob Carr, the director, John DiDonna, suggested I sit onstage with the audience watching at the Red Chair Affair.

The act of sketching became a form of performance art.

I forgot about the audience as I struggled to capture the Cirque du Soleil performer on stage.

Doug Rhodehamel created this Sea of Green florescent fish hanging from the ceiling at Stardust Video and Coffee.

When I am in a room full of creative people, I feel motivated to create.

 Being isolated in a studio makes little sense, when there are so many vibrant events to sketch all around Orlando.

I found Bluesman Maxwell seated among the clutter of a flea market in Mount Dora.

He sang, “Flea Market Blues.”

No one else stopped to listen.

Each sketch usually takes about two hours to complete.

Time stands still.

When you stay in one spot for that long, some drama always unfolds.

At the Enzian Theater during the Florida Film Festival, the projectionist had to splice together the “Breakfast at Tiffany’s” reels.

I always remain open to snippets of conversation which I often jot down on the back of the sketch.

Writing helps me to complete the bigger picture.

Benoit Glazer invites people to his home called “The Timucua White House”, once a month to experience live music and art.

It is amazing how often lyrics of a song, or the plot of a play, will seem to mirror what is happening in my everyday life.

The emotional message of some productions often hits home.

Andrew Spear created a mural at the annual Snap Photography Exhibit.

By meeting so many artists, and sharing their stories, my own art grows richer.

 Listening to a theater director talk about the creative process, the conversation could just as well relate to the process of creating a sketch.

I have often been asked to stop sketching by security guards, ushers and police.

In our fast paced world, someone who stands still tends to be suspect.

This accordion player at Earth Day was asked to stop performing by Lake Eola grounds keepers.
Silence can be deafening……

I don’t believe art should be profiled as a deviant behavior.

Jazz still thrives in late night dives.

 The city grows smaller as I meet the same performers again and again.

 I’m starting to feel very much a part of the culture that I document.

Since starting the blog, I have posted over 2000 sketches about Orlando online.

Every art form has uncertainty, and blind searching, followed by revelation.

 I’m never satisfied with any sketch as I am working on it.

Only looking back, can I acknowledge that it isn’t the worst sketch I have ever done.

I love keeping track of all the arts organizations in town, on Analog Artist Digital World.

At times, I feel I have my finger on the pulse that helps keep Orlando alive and vibrant.

Some organizations have had to close, but there are always people who strive to make this city an interesting place to live.

Every time I sketch, I fall in love, be it with a gesture, setting, or people’s stories.

Mary Oliver gave simple instructions for living life, “Pay attention, be astonished, and tell about it.”

By sketching daily, I discover so many people who astonish me, in a city I now call home.

I love my wife, life and Orlando!

Mark Your Calendar! The next PechaKucha V13 will be on Friday June 13th at the Orange Studio, 1121 N. Mills Avenue, Orlando, Fl. I hope the presenters aren’t superstitious!

The Barber of Seville: Press, Blogger, Tweet Night

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On October 23rd there was The Barber of Seville: Press, Blogger, Tweet Night, at the Bob Carr Performing Arts Centre (401 W Livingston St, Orlando, FL), which was the final dress rehearsal before the show opened. An usher informed me that there was no photography allowed, but I was ready with my sketchbook. I had to use the book light to see, but thankfully there was no one seated near me. The Orlando Philharmonic’s semi staged operas usually have the orchestra on stage but for this production they have been moved to the music pit. Emily Lindahl, the Philharmonic)s PR person, said that the musicians are much happier down there. For her there is magic in seeing the musicians lit from below like a Degas painting. It feels more like an age old opera. Projections kept the simple set lively.

The Barber of Seville  by Rossini opened October 25. The 3-hour production left me plenty of time to sketch in the first act. Since I was busy sketching, I didn’t have time to read the subtitles. In general the Opera seems to be about a lecherous barber Wooing a married woman. She instantly fell in love when he sang to her as she stood on her balcony. There were several funny scenes where her husband wandered outside and the barber hid by lying on his back like a rug, or pretending to be a bush. The old man must have pretty bad eye sight. No wonder his wife’s attention wandered.

I only know the music because Bugs Bunny and Elmer Fudd performed in dueling barber chairs. One scene reminded me of the one aria sung by Citizen Kane‘s mousy girlfriend. The opera was actually based on the novel Salammbô by Gustave Flaubert, which was a much more straightforward sword-and-sandals story of a princess, barbarians and that sort of thing. Susan Alexander Kane just didn’t have the chops for the job. In the Orlando Philharmonic Barber of Seville production however the music was sublime. My mind just always wanders as I sketch.

Mark your Calendar! You only hare one more chance to see the Barber of Seville!  

The next performance is October 27, 2 p.m.

Venue: Bob Carr Performing Arts Centre

Address: 401 W. Livingston St.

Phone: (407) 770-0071

Web Site: http://www.orlandophil.org

Price: $20-$82

Red Chair Affair

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I went to the rehearsal for the Red Chair Affair at the Bob Carr Performing Arts Center (401 W Livingston St, Orlando, FL) on August 23rd. John DiDonna directs this showcase of over a dozen performing arts organizations that kicks off the 2013 and 2014 seasons. With so many performers back stage, you might think there was chaos, but the rehearsal ticked along on schedule while I sketched.

The first group onstage to rehearse were the Power Chords from the Orlando Repertory Theater. Every one of these teens had personal mics hidden in their costumes, so there was a long series of sound checks. On the evening of the performance they sang “Bridge over Troubled Water” by Simon and Garfunkel.  It was a bit odd seeing this reflective song choreographed with flash and glitter. These kids do know how to belt out a tune however. The next group up was ME Dance performing “Journey“. I’ve seen them perform this high energy dance before in their loose 80’s “Flash Dance” attire. The large black wing curtains obstructed much of my view of their performance.


The performing group that took me most by surprise were the NuLook School of Performing Arts. They danced to a piece called “Okamoto High Fashion“. The dancers wore black and white checkered tights and French berets worn at roguish angles. The dance was angular and hip with crisp staccato movements. It was unexpected and inspired being performed by kids who must still be in high school. The Brass Band of Central Florida was loud and energetic. The band master apologized to me when all the band equipment was piled up in front of me. I told him it didn’t matter since I was just adding color to the sketch at that point. I considered sketching in the drums and other instruments then decided against it.


The Enzian Theater screened a short documentary called “A Brief History of John Baldessari“. One of this artist’s pieces is now hanging at the Orlando Museum of art. The ladies of Disenchanted sang several of their Disney princess inspired songs. This show, with music and lyrics by Dennis Giacino is likely headed to Broadway in NYC.


Autumn Schaefer Ames who was the Executive Director of the Arts and Cultural Alliance of Central Florida just recently had a baby and she is stepping down. Rae Ward has filled the position. Regardless, Amanda was back stage as the assistant stage manager helping Brittany Wine control the chaos. Once you get a taste for live theater, it is hard to let it go.

Ballet Class – ME Dance, Inc.

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I went to the Raskin Dance Studio (2143 Partin Settlement Rd; Kissimmee Fl) to sketch an open Professional Ballet Class run by William Marshall Ellis the founder of ME Dance. The class is open to all intermediate and advanced dancers every Monday Night at 8:30pm. The cost is $10 per class. I was surprised at how crowded the class got. Several dozen dancers stretched and worked at the bars. While stretching dancers got to gossip and catch up on their complex lives.

The ME Dancers would be performing at the Bob Carr Performing Arts Center for the Red Chair Affair on August 24th. They woud be performing “Journey” with music by, you guessed it, Journey.  In this piece the dancers wear loose fitting 80’s styled outfits while dancing to “Don’t Stop Believing.” Dancers who performed at Red Chair included, Rachel Aimee, Shannon MacLaren, Alex Schudde, Rachel McKeever, Stephanie MaMahon, Krista Wilson and Emily Williams. Marshall is preparing for the upcoming dance season. Incredibly most venues are booked solid. This is good news to know the Orlando dance scene is thriving but now that this new dance company has build a full repertory, they need a home to showcase it in.

Once Upon a Wonderland

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Terry and I bumped into Tod Caviness outside the Silver Venue in the Rep Theater at Fringe. He was going to see his wife, Christin Caviness, dance in Once Upon a Wonderland by Yow Dance. She performed as Little Red Riding Hood. Yow dance had a similar Fairytale themed show last year. From talking to Christin at an open mic Speakeasy event at Will’s Pub, I learned that some magic had been thrown into the mix.

A large canvas map was propped up on stage right. It resembled a large curtain map that had been used in the traveling Broadway hit “Wicked” at the Bob Carr Performing Arts Center. A golden egg in a nest was fixed in the center of the kingdom. The Queen of Hearts walked down the theater isles towards the stage in drag. She sat down and messed with a few audience members before taking to the stage.

It was hard to decipher any story line that might pull the production together. The dancing was graceful and  it was interesting to see someone sawed in half, but there didn’t seem to be any underlying motivation behind anything that happened. Micro phoned singers sang Wickedesque show tunes with thin watery lyrics. I had hoped this production would build on last year’s “Classically Demented” show but none of the elements seemed to fit together. There was plenty of flash but little heart.

Later speaking with Christin, I made a blunder by thinking  she had performed as Snow White, when she had performed as Little Red Riding Hood. It was sad proof that my attention had wandered.

A Midsummer Night’s Dream

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I went to an open rehearsal for William Shakespeare‘s Midsummer Night’s Dream at the Bob Carr Performing Arts Center on April 26th. The only performance would be the next day and it was completely sold out. I was surprised at how crowded it was getting into the theater. It turned out $10 tickets were sold to see the rehearsal. I usually sit right up front but the front rows were blocked with yellow caution tape.

I did this sketch with a fountain pen Larry Lauria had lent me. It wasn’t until I started adding watercolor washes, that I realized that the ink wasn’t waterproof. Every wash that touched a line would explode black as the ink spread. I wanted to abandon the sketch and start another, but there wasn’t enough time. I pushed forward hoping the whole page wouldn’t turn black by the end of the show.

The orchestra performed music by Felix Mendelsohn which perfectly complimented the play. There were love potions that caused mortals to fall helplessly in love with the wrong person. All the lovers were bewildered and lost. The wost case was when Titania fell in love with an actor who had been transformed into an ass. My favorite moment was the play staged within the play. Brandon Roberts as a carpenter announced the play while standing on a column. The actors staged a farcical tragedy of Pyramus and Thisby. The female Thisby  was played by a man and there must have been basketballs on his chest swinging under the Greek toga. Philip Nolan as Pyramus had a hilarious death scene in which he kept poking his sword at his impenetrable chest plate. He apologized to the assembled audience on stage and said “Well, this is actually more of a dress rehearsal.” He finally shoved the sword inside the armor and had a long winded agonizing death scene that he milked at least three times. Even members of the orchestra couldn’t stop laughing.

It was a delightful evening and I hope the Orlando Philharmonic Orchestra and the John and Rita Lowndes Shakespeare Center continue to collaborate.

Dress Rehearsal, The Little Mermaid

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On April 10th, I went to the Bob Carr Performing Arts Centre to sketch a dress rehearsal for The Little Mermaid with Robert Hill as the Artistic Director and choreographed by Katia Garza. I went in via the stage door and backstage ballerinas where busy stretching. Most of the dancers were very young middle school and high school students. It would have been nice to sketch from back stage but this was my first time ever sketching a ballet in town and I didn’t want to get in the way. There were lots of dancers and I wasn’t a part of this world . I made my way to the auditorium seating.

This was a full run through of the show with the dancers performing to recorded music and narration. I thought the narration was overkill but I imagine it was staged with younger viewers in mind. The costuming was quite elaborate. Ariel stood out from the blue undersea world in her bright pink costume.  Rear screen projections did a great job of creating the undersea setting. When Ariel rose to the surface, a flock of young white sea gulls danced gracefully. As a princess, she had everything, but of course she wants what she doesn’t have. Legs are required for dancing. As any mermaid would do, she gave up her voice to walk beside her man and they lived happily ever after. After the run through, Katia gathered the dancers and shared notes. There was just one performance on April 13th and I’m certain it was amazing.

Madama Butterfly

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 Terry got two tickets to see Madama Butterfly‘s final performance at the Bob Carr Performing Arts Centre. Our seats were in the third row which gave me plenty of ambient light to sketch by. From this seat I had a good view of the projections behind the orchestra created by Lisa Buck. The images lap dissolved gently together working as backdrops and symbolic visual cues. It was often like a slow gentle animation. By the time Butterfly began her all night vigil hoping for her lover to return, I had finished my sketch and tucked it away.

At 15 year of age, Butterfly marries an American Naval Lieutenant named B.F. Pinkerton. He abandons her and she later gives birth to his son, whom she names Sorrow. The final act is heart wrenching and beautiful as the Lieutenant, returned with his American Bride. This scene of abandonment and betrayal had Terry wiping tears from her eyes. I looked around to see utter sadness on the faces of audience members around me. This was Terry’s review…  “Congratulations to director Robert Swedberg, the Orlando Philharmonic and a fine cast (including Erik Branch and Sarah Purser Bojorquez) on an outstanding performance of Madame Butterfly. The amazing thing is that it didn’t feel like concert opera. The simpleness of the setting and the direction made the story and music more powerful for me in a way that it has never been before. The soprano was outstanding with a good range and musicality and acting that drove me (and just about everyone I could see around me) to tears. Seriously, I’ve seen the opera so many times and I never heard so much in the score before. The music told me more the story and the characters than the words in the super titles did. WOW!!!!!!!!! GREAT JOB!!!!!!!”

Robert Swedberg was the Opera director when Orlando still had an Opera Company. The Opera went bankrupt several years ago. Since then Robert has been directing operas in Michigan and all over the country. He returned to direct this one production and he had to fly back to Michigan immediately after he took a final bow with the cast. His next project is directing an original Opera by Orlando composer Stella Sung called The Red Silk Thread, about Marco Polo.