Peninsula Youth Theatre. â€śShe Kills Monsters.â€ť 2 p.m., 7:30 p.m. Sept. 23. By Qui Nguyen. Mountain View Center for the Performing Arts Second Stage, 500 Castro St., Mountain View. $17. mvcpa.com or 650-903-6000. TheatreWorks Silicon Valley. â€śThe Prince of Egypt.â€ť Oct. 6 through Nov. 5. Co-world premiere (in collaboration with Fredericia Teater in Denmark, where it will be staged in 2018) musical about Moses and Ramses. Score and lyrics by Stephen Schwartz, book by Philip LaZebnik. Directed by Scott Schwartz. Featuring Diluckshan Jeyaratnam and Jason Gotay. Mountain View Center for the Performing Arts, 500 Castro St., Mountain View. $40-$100 (discounts available). theatreworks.org or 650-463-1960.
Other grants will help San Jose Taiko bring its drummers to sites around San Jose â€” probably catching the ear of unexpecting passers-by â€” and will fund more public concerts by The Commons, the innovative public concerts that put an interesting twist on classic music (The next one is July 24 in St, James Park), More well-known institutions like the San Jose Museum of Art, Silicon Valley Creates, the San Jose Institute of Contemporary Art and Movimiento de Arte y Cultura Latino Americana also received grants to help them continue or expand some of their more innovative dance classÂ® child leather-like full sole ballet shoe programming, All in all, a pretty good day for the arts in Silicon Valley..
Nina Ballâ€™s appealing set is made up of panels cleverly painted to match the real hills behind them. A few of the panels occasionally shift to show something else, but itâ€™s an effect so subtle that it seems gratuitous. The original morality play has a dogma-steeped point to make about what it takes to get into heaven, which Jacobs-Jenkins sidesteps in favor of a much vaguer credo of being compassionate to each other. Itâ€™s a fine sentiment, but a final shrug of the shoulders about what it all means isnâ€™t exactly satisfying. But then, neither is life, and people who go into that expecting answers arenâ€™t likely to be satisfied either.
The strong cast weathered the transitions, Soprano Leah Crocetto, singing her first Aida, signaled her readiness in the Act I dance classÂ® child leather-like full sole ballet shoe aria â€śRitorna vincitor,â€ť delivered with rich tone and supple phrasing, Crocetto gave a moving account of the aria â€śOh, patria mia,â€ť and she deployed her resonant, beautifully colored instrument in the operaâ€™s duets and ensembles, Brian Jagde, also making an impressive role debut, was her Radames, The tenor sounded firm and muscular in the Act I aria, â€śCeleste Aida,â€ť and his performance grew increasingly ardent and expressive as the evening progressed..
At the most obvious, he did this by dressing the women in Greek-inspired tunics, echoing Isadora and all the other women of the late 19th and early 20th centuries who cavorted in meadows in chiffon (costumes designed by Elizabeth Kurtzman). Then he set the dancers softly leaping and turning and unfurling their legs in an atmosphere that seemed warm and golden. Their male counterparts, a group of lovely satyrs, bare- chested and dressed in pants of vivid pink, blue, green, yellow orange or red, were, by contrast, as bold as tropical flowers though as soft and dreamy as the women.
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