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WIDT | “The Nutcracker” at WICA
Whidbey Island Dance Theatre is Back on Stage with “The Nutcracker” at WICA
Among the whirlwind of the holiday season, there is that undeniably lovely and tempestuous affair fluffed with snow and tulle and cute children in creature costumes that few can resist. That is “The Nutcracker,” of course, and Whidbey Island Dance Theatre (WIDT) is back on stage with the ballet.
When Russian choreographer Marius Petipa collaborated with composer Pyotr Ilyich Tchaikovsky to create “The Nutcracker” ballet in 1892, the famous team was most likely oblivious to the global tradition the piece would become through the next 125 years and beyond. Countless productions of the holiday ballet abound all over the world, but nothing makes the heart sing more than seeing one’s own community bring this holiday winter dream to life on stage.
After being only able to perform via livestream last year due to the pandemic, WIDT is particularly excited to present its 29th season of “The Nutcracker” live and onstage at Whidbey Island Center for the Arts in Langley. Tickets are on sale now for the show which opens Friday, Dec. 10 and runs through Sunday, Dec. 19.
WIDT alums, Brittany Falso and Elliauna McLean, have taken on the leadership roles of artistic directors at WIDT and are over-the-moon to be back on stage with this dedicated company of dancers and community members.
"We are so excited to bring back live performances this year,” says McLean. “To see that curtain open for the first time on opening night is going to feel surreal."
The ballet dramatizes the tale of Clara’s enchanted Christmas Eve, when her mysterious godfather’s magic leads to a dream of unexplainable and wonderful events through the night. Clara journeys to lands where snowflakes and flowers dance; where fairies, mermaids, and even a dragon perform; where a fierce and terrible battle is fought; and where a handsome prince comes to the rescue.
Here is a company that is skilled enough to turn out a professional-caliber performance every year, much to the delight of its enthusiastic island audiences. The company manages to combine the traditional and the deliciously daring in a production in which more than 100 characters come to life. As always, WIDT’s production is full of color and fun, newcomers and familiar faces, and new twists in choreography, along with the artistry of several professional guest dancers and the charming collective of an all-ages cast.
"Seeing how dedicated these dancers are in all of their rehearsals makes the lead-up to this year’s show all the more enjoyable," McLean added.
Principal company dancer Kendall Marshall takes the role of Clara, supported by community member Lars Larson returning in the role of Godfather Drosselmeyer. Professional guest artist Robbi Moore dances the role of the illustrious Forest King and performs the Grand Pas de Deux with the Faerie Queen played by Chyler White, another guest artist to join the show.
“Every year, newcomers marvel at how joyous and spectacular our local production is,” says Whidbey Island Dance Company founder Charlene Brown, who began bringing this holiday event to islanders back in 1992.
Brown helps choreograph the show along with other longtime WIDT collaborators including, both Falso and McLean, Megan LeMay, Katelyn Lodell, Leah Marshall, Robbi Moore, Jamee Pitts, Taylor Pitts, Chyler White and Graham Vanderwood.
Even amid the pandemic, this ensemble of dancers, buoyed by their directors, choreographers and parents, has come together, even while breathing through masks as they dance, to make this show happen again. It is their holiday gift to their community and has all the festive earmarks of what the holiday season is at its best: bringing joy to others. Come and see them dance!
“The Nutcracker” plays at 7 p.m. on Dec. 10, 17, 18 and at 2 p.m. on Dec. 11, 12 and 19.
Tickets are $25 for adults, $20 for youths/seniors/military and are available online at wicaonline.org.
Covid-19 Safety Precautions in Place for “The Nutcracker”: 50% audience capacity/adults proof of vax or Covid test required + mask/under 18 mask required.
98260
A streaming program designed to keep us connected through thoughtful conversations, news, and entertainment.
98260 keeps us connected through thoughtful conversations, news, and entertainment. We hope you enjoy!
EPISODE 06
This episode, WICA Artistic Director Deana Duncan talks with improv artist (and co-worker) Billy Tierney about his craft and summer performances and classes. Billy shares his technique and talents with special guest Chris Harshman during rounds of vocal and musical improvisations.
Air date: June 19, 2020
RELATED PROGRAMMING | IMPROV WITH BILLY | JUL 03
EPISODE 05
Travel writer Sue Frause has a conversation with Hedgebrook's Interim Executive Director, Elise Miller, about her career and the organization's history, mission, programs, alumnae, and Radical Hospitality.
Air Date: June 01, 2020
Episode 04
Sue Frause talks with Saratoga Orchestra Executive Director, Larry Heidel; Char Brown and Brittany Falso from Whidbey Island Dance Theatre; and Whidbey Children's Theatre's Cate Cassee. Each of Sue's guests discuss how the organizations (and artists) have been impacted by the current health crisis and their responses to it.
Air date: May 22, 2020
Episode 03
Sue Frause visits with members of Langley Creates and discusses what Langley's new designation as a "Creative District" means for our island's economy.
Air date: April 30, 2020
Episode 02
Sue Frause mixes up a Braeburn Bloody Mary and has a chat with Langley restaurateurs Lisa Carvey and Jenn Jurriaans.
Air date: April 06, 2020
Episode 01
Sue Frause and WICA's Verna Everitt have a chat from their homes about spring and summer events, Whidbey Island Film Festival, DjangoFest NW, and the center’s upcoming 25th Anniversary.
Air date: March 30, 2020
Summer Programs and Events
UPCOMING EVENTS
PURCHASE WITH CONFIDENCE
As we continue to navigate this new and ever-changing landscape, it’s hard to know what the future holds when it comes to travel plans. Right now, however, be assured that we are working diligently to create an unforgettable summer.
We want to make sure you have the flexibility to make the best decisions for you and your family as we get closer to performance dates. If you decide to postpone your trip to the center, your tickets will be refunded without question and without fees.
WHAT TO EXPECT WHEN YOU ARRIVE
The WICA Staff and Board of Directors are working hard and earnestly exploring new ways for us to produce, present, and support exceptional works that celebrate our community’s artistic excellence. And, at the heart of every conversation and every decision, is a singular focus on your experience and safety.
THE DOLL’S HOUSE PROJECT
Directed by Deana Duncan
A DOLL’S HOUSE
Henrik Ibsen’s controversial masterpiece about Nora and Torvald Helmer's fragile marriage was a watershed moment in both theatre and feminism. As Christmas Eve approaches and purse strings tighten; the Helmer's discover that the facade of their perfect lives is beginning to crack. Nora has a secret and what begins as an exquisite family drama quickly reveals itself to be a life-or-death thriller with no clear villains or means of escape.
Featuring Anja Bentson, Kaia Bentson, Katrina Bentson, Olena Hodges, Zora Lungren, Kevin Lynch, David Mayer, Cindy Rutstein, Zachary Schneider.
Performance dates to be announced!
A DOLL’S HOUSE, PART 2
Fifteen years have passed between a door slam in Ibsen’s classic and a “knock-knock” that begins Part 2. What follows are 90 deft, devastating minutes that connect the past and present and shine a light on how we seem to be going backwards in our thinking about women’s rights, identities, ownership of bodies, and gender roles.
Featuring David Churchill, Ada Faith-Feyma, Shelley Hartle, Amy Walker.
During Economic Highs and Lows, the Arts Are Key Segment of U.S. Economy
“…arts and culture contributes $877.8 billion (or 4.5%) to the nation’s gross domestic product…”
According to data issued by the Bureau of Economic Analysis (March 17, 2020) and the National Endowment for the Arts, the arts remain a vital component of the U.S. economy. As the United States navigates a time of economic uncertainty due to the spread of COVID-19, it is important to recognize and champion the economic contributions of the arts to all 50 states, the U.S. territories, and the nation as a whole.
The sixth edition of the “Arts and Cultural Production Satellite Account” (ACPSA) finds that arts and culture contributed $877.8 billion (or 4.5%) to the nation’s gross domestic product (GDP) in 2017. That same year, there were over 5 million wage‐and‐salary workers employed in the arts and cultural sector, earning a total of $405 billion. Complete national findings are available including an interactive infographic and data tables.
Arts and cultural production accounts for $44,302,905,650 and 8.4% of the Washington STATE economy, contributing 167,004 jobs.
The ACPSA tracks the annual economic impact of arts and cultural production from 35 industries, both commercial and nonprofit. The 35 industries that are tracked range from architectural services to sound recording and are considered a distinct sector of the nation’s economy. With the outbreak of COVID-19, many arts organizations and venues like Whidbey Island Center for the Arts — theaters, concert halls, museums, studios, festivals, and galleries — have shut their doors until further notice from public health officials.
“Earned income accounts for a substantial share of the bottom line of most nonprofit arts organizations,” Sunil Iyengar, director of Research & Analysis at the Arts Endowment, said. “During economic downturns, the sector is acutely vulnerable — in terms of earned income, but also in fundraising. Given the lean operating budgets of such organizations, these losses can have an outsized impact, leading to fewer jobs in arts industries, and in the businesses that supply them.”
Key National Findings
As arts venues close, it will be important to monitor the impact on ticket sales.
In 2017, consumers spent $26.5 billion on admissions to performing arts events, including $17 billion on theater/musical theater/opera performances and $3.7 billion on music groups and artists (e.g., jazz, rock, and country music performances).
Arts industries that contribute the most value to the nation’s GDP are also highly reactive to swings in business cycles including:
Performing arts companies
Independent artists, writers, and performers
Arts‐related retail trade (for example museum stores and art galleries)
Even as the sector continues to respond to market forces, it is worth noting that arts and culture contribute significantly to the U.S. economy.
The arts and cultural sector add more to the economy than do construction, transportation, and warehousing combined.
The value added by arts and culture to the U.S. economy is five times greater than the value from the agricultural sector.
Arts and culture added more to the U.S. economy than construction, transportation, and warehousing by $87 billion and $265 billion respectively.
The sector has shown capacity for rapid growth.
Between 2015 and 2017, the arts and cultural sector grew at more than twice the rate of the total U.S. economy—at nearly 4.45 percent, in terms of annual average growth rate.
Among high-growth arts industries are performing arts presenters, arts-related construction, and publishing.
Key State Findings
On a state level, the arts and cultural sector added $72.8 billion to the economies of rural states—i.e., states in which 30 percent or more of the population live in rural areas, equaling 18 states.
Six states significantly surpassed the average national growth rate of 5.6 percent for the period 2015-2017: Washington, California, Nevada, Utah, Georgia, and Massachusetts.
United States $877,809** 5.6%***
Washington $44,303 13.7%
California $230,298 9.9%
Nevada $8,738 9.4%
Utah $7,214 8.6%
Georgia $24,407 7.6%
Massachusetts $25,805 7.2%
** Arts and cultural value added for 2017 (in millions)
*** Average annual growth rate of value added: 2015-2017
SOURCE: National Endowment for the Arts
SUGGESTED READING
Frantic fundraising, relief that can’t meet demand: Artists and arts groups scramble amid coronavirus crisis | Seattle Times, April 21, 2020
Arts and Culture Industry Has Lost $4.5 Billion Due to Covid-19 Pandemic | Barron’s, April 13, 2020
Coronavirus has ravaged the arts. Financial relief is available, but is it enough? | Crosscut, April 06, 2020
Performing Artists and the Financial Fallout of the Coronavirus | The New Yorker, MArch 2, 2020
REPORTS
ArtsFund | COVID-19 Arts Sector Impacts
Whidbey Island Center for the Arts | 2018-2019 Impact Report
ARTICLE | The beginner's guide to Philip Glass
Often regarded as one of the most influential musicians of the twenty-first century, American composer Philip Glass is best-known for his minimalist compositions.
He is a minimalist composer
Minimal music is a modern style of classical music, developed in the early 1960s by the likes of Glass and his contemporaries, Steve Reich and Terry Riley. The minimalist music genre is best categorized by its use of repetitive sounds over long periods, which has a hypnotic, meditative feel. Although his works can be described as minimalist, Glass prefers to describe himself as a composer of ‘music with repetitive structures.’
The hypnotic structures of Indian music inspired many of his works
In the mid-1960s, Glass met Indian musician Ravi Shankar (the man who introduced The Beatles’ George Harrison to psychedelic music). Hired as an assistant, it was Glass’s job to transcribe Shankar’s music in a way that western musicians could play. At the time, Indian music was unfamiliar to many westerners, meaning few had transcribed the hypnotic melodies of eastern music. Immersing himself in the addictive structure of Indian music lead to Glass journeying around India, the Himalayas and North Africa. It was his first trip to India, in 1966 that inspired Glass to create an opera on Mahatma Gandhi. Satyagraha (an ancient Indian word meaning ‘truth-force’) premiered in 1980.
His trilogy of ‘portrait operas’ are like nothing you’ve ever seen before
Throughout his career, Glass has composed more than 25 operas. Out of all his operas, the three ‘portraits’ are some of the best known. The first in the series, Einstein on the Beach, premiered in 1976, pushing minimalism into the mainstream. The opera (as with the others in the trilogy) focuses on a major historical figure, in this case, the famous scientist. The piece has neither dialogue nor a narrative, and Einstein himself is played by a violinist. Four years later, Satyagraha, an opera on a much larger scale, was premiered. This time Gandhi is the focus of the work, specifically his early years in South Africa and his approach to non-violent protest. The non-conventional libretto is loosely based on texts from the Bhagavad-Gita, a scripture in the ancient Hindu language, Sanskrit. Satyagraha was Glass’s first major work to use a traditional orchestral line-up and cast of soloists.
While planning the third part of his “Portrait Trilogy,” Glass turned to smaller music theater projects such as the non-narrative Madrigal Opera (1980) and The Photographer (1982).
He also writes music for films
Glass began composing music for film in the 1970s, when he scored a number of documentary films. In 1982, he worked on American experimental film Koyaanisqatsi, his score plays almost uninterrupted for the duration of the film. Pre-existing and original compositions can be heard in 1998’s The Truman Show. Glass also has a cameo in the film. Have a watch of the video to see him playing the piano whilst Truman sleeps. He is perhaps best known, however, for writing music for the 2002 film, The Hours, staring Nicole Kidman, Meryl Streep and Julianne Moore. It was for this work that Glass won the BAFTA award for best film music.