Sherlock Holmes

Film Review by Alexander Morales

Throughout the literary world, there is no finer, well-known detective as Sherlock Holmes. From the landscape of the text to our lips, common household phrases and popular culture have been shaped by the adventures and techniques of this misunderstood magnet for murder. Along with his partner and friend, Watson, criminals and mastermind plans have been halted in four novels, some 50+ short stories, several television programs and more than a dozen films. Needless to say, since 1887, readers have been hooked on the Sir Arthur Conan Doyle creation.

So with a history like that, what possibly could Hollywood add to the mythos?

Well actually, a lot depending on how you look at it.

Directed by Guy Ritchie (of “Lock, Stock and Two Smoking Barrels,” “Snatch” and “RocknRolla”), “Sherlock Holmes” brings the classic land of industrial England to life in all its disgusting, smelly, rain-washed glory. With a cast so impressive that you can barely take your eyes away from the screen, this movie delivers on almost all fronts. Almost.

The story is simple and effective. Holmes starts a case against a very devious bad guy – this being the seemingly supernatural Lord Blackwood. Something big happens and the match of logic versus witchcraft begins. Somewhere in the middle, a past love comes into play, hilarity ensues, maybe some backstabbing and possibly the complete destruction of England, as we know it. In a nutshell that’s it. But, man, was it fun.

Lead by the half-chameleon/half-human, all awesome, Robert Downey Jr. and co-starring Jude Law, Rachel McAdams and the very formidable Mark Strong, “Sherlock Holmes” is a very fun ride at the theater this holiday season. As the title character, Downey Jr. is excellent. Seamlessly, he steps into the role and truly embraces the nuances that help make the character a success. One of the things I really appreciate in his approach is the socially inept behavior that genius brings. Holmes is a jerk; an almost filter-less human being who seeks only the best challenges and when without them, allows himself to fall into depravity and loneliness. Rounding him out luckily is his dear friend Dr. John Watson, played very conservatively by Law. While very deserving of the limelight himself, Law spars verbally with Downey Jr. very well and above all is able to stay important and balanced in the overall story. Neither of these characters is above their flaws and that’s what makes them wonderful. Whether it’s gambling, drugs, boxing (which, interestingly enough, Holmes was an accomplished bare-knuckle brawler) or the case, these guys are just like you and me – a slave to their vices.

Of course, the acting is not the only good aspect. Throughout the years, Ritchie has grown very well from his indy roots and here, it is easy to tell that he is very comfortable behind the lens. While still using a few of his quick-cut and slow-motion techniques, Ritchie is able to rein them in a little and truly use them to help keep the story moving forward (or backwards depending on the scene) rather than just making something look cool. At the same time, London of old has never looked better. The production, art and costume designers all deserve a big round of applause, as does Hans Zimmer for delivering another beautifully original score.

Where the movie seems to veer a little is in the delivery of the third act and possibly the presentation of the villain. Establishing itself early as a solid detective movie, it was hard to see the film go down the “race-against-time” kind of scenario. While still engaging and entertaining, it almost felt a little too heavy handed for the detail oriented adventures of Holmes and company. Especially when one considers how the story really ends and what it can mean for future tales of the detective. (Not a spoiler, I’m just saying.) In terms of villainy, like I said above, Mark Strong is very formidable as the evil Lord Blackwood and in everything I have seen recently with him in it, I have been very impressed. However, here he comes off a little too much like the sneering Dick Dastardly from the old Hanna-Barbera cartoons. Every line is delivered with that upper lip kind of evilness and by the end, it’s just kind of funny. I mean, I know the dude needs to keep his sorcerer persona going on, but perhaps a little less quiver in the labium superius would have helped him become less than a foil and more a true adversary.

Overall, this film can easily be described as the lay-version of Sherlock Holmes. Perhaps “elementary” to share a line. While not as heady as it could have been, I feel, especially after doing my own rounds of research on the rich lifestyle choices of Holmes, that Ritchie has done very well telling the detective’s story. A solid cast, good film direction and an excellent score will make “Sherlock Holmes” a great fit into your hectic holiday schedule.

3.5 out of 5 Smoking Pipes

Nine is not your everyday musical

By Jason Gregg

What do I know about musicals? From my limited experience of musicals, (“Singing in the Rain,” “Guys and Dolls,” “The Blues Brothers” {yes, it is considered a musical comedy} and “Legally Blonde the Musical”) here is the basic linear format as I see they are written in — opening dialogue, singing, more dialogue, more singing, even more dialogue and then a grand finale. Then for a week after that, you have the songs stuck in your head. Director Rob Marshall chose not to follow the old standby format through to the end.  His actions placed “Nine” in a different category from the standard musical.

The movie focuses on Guido Contini (Daniel Day-Lewis) as a famous movie director in Italy in 1965. He is having troubles developing his next movie. More so, he hasn’t written a script. Even more so, he is having trouble even coming up with an idea for his movie.  He had successful movies in the years past but now we are watching him struggle after a few major flops.

In his journey to make his next movie, he is having marital problems along with mistress problems. Add in Freudian issues with his deceased mother and his working relationship with his costume designer and his muse. Don’t forget to include yet another potential affair outside of the one he is having with his mistress, plus there’s the memory of an erotic lady on a beach from his youth (that’s seven women total for those of you who are keeping score at home).

You know what is going to make this movie stand out from the crowd?  It is the realistic singing by the actors. They are actors first and singers second (except for maybe Fergie who plays the erotic lady from Guido’s youth but she didn’t say much in the film, come to think of it I think she only sang). Since I don’t know much about musicals and even less about how to sing properly, I could grasp the singing. The tunes they sang aren’t the kind you are going to be singing on the way home because a lot of the songs were simply narrated lines being sung. When a character wanted to express his or her thoughts, they would sing their lines. Maybe that’s what they do in all musicals — like I said my experience here is limited. 

The women. Oh, the women. They all performed wonderfully, and I don’t just mean the singing. The female cast includes his wife (Marion Cotillard), his mistress (Penelope Cruz), his costume designer (Judi Dench), the woman from his childhood (Fergie), an American fashion designer (Kate Hudson), his muse (Nicole Kidman) and his mother (Sophia Loren). They brought emotion and life to the story through their singing and their lustful yet sensual moves.  I would also like to note, as a guy, the women were the reason why I kept my attention focused for almost 2 hours. I don’t even watch a football game this intensely.   

Should you see this movie? Yes. But, don’t go in expecting a musical you can sing along with or a movie that will leave you feeling giddy with love.  It dealt with some very real issues about infidelity.  I will say this, though, after seeing this movie I do know a little more about musicals. And, that’s a good thing.

Steve Rimmer’s “Sticks and Stones” to exhibit at the Corridor Art Space

Kansas City, MO – An exhibition by Steve Rimmer titled “Sticks and Stones” will be on display at the Corridor Art Space (located within the Westport office of Gould Evans) beginning Thursday, January 28 and closing Tuesday, March 9.

The exhibit consists of paintings that represent landscape informed more by practicality than sentimentality.  Tapestry aged and, in fact, enhanced by wind, water, heat and cold.  Surfaces formed and colored by elements and minerals breaking apart, settling, mixing and regenerating.  They are considerations of the platform, from which, all life forms begin and end their trips no matter how grand or humble.

Rimmer is a self taught artist; his formal education is in business. Through the years he has traveled and gained knowledge from visiting museums, galleries and exhibits with the constant passion of art always in his heart. At the age of 50 Steve enrolled in his first art class at the Kansas City Art Institute, he has flourished from there.

He is grateful to his friend and mentor, Mr. Robert Quackenbush who is a fellow artist and teacher. Mr. Quackenbush has assisted Steve in his art education and guidance over the past two years.

Opening reception to be held Thursday, January 28, 2010 from 5:00 pm to 7:00 pm.

Open to the public. 

For questions or to request a private showing, please contact Julie Hendrix at 816.931.6655 or julie.hendrix@gouldevans.com. 

Corridor Art Space

Office of Gould Evans Associates

4041 Mill Street

Kansas City, MO   64111

(Located in Westport’s Manor Square building)

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Celebrating 35 years in design, Gould Evans is a firm of nearly 150 professionals providing architecture, interior design, landscape architecture, planning, and graphic design services to clients worldwide. The firm has been recognized for its commitment to collaboration and excellence. The offices --- in Kansas City, Lawrence, Phoenix, Tampa and San Francisco --- operate as a network of affiliated organizations.  Each has its own strong local/regional identity and access to a talent pool that includes many nationally recognized thought leaders.

HURRY! National Archives at Kansas City’s It’s Big Display Ends Soon

By Kellie Houx

As editor of KC Studio, I have the chance to travel the city and see some of the coolest displays and exhibits. One of these neat displays is at the National Archives of Kansas City called “It’s Big: the 75^th Anniversary of the National Archives.” We are the location for the Central Plains Region — Iowa, Kansas, Missouri, and Nebraska.

The Archives has been open in its current facility next door to Union Station since late May. The facility features a welcome center, two exhibit galleries, expanded facilities for researchers and programs for children and adults. We took advantage of one of those children’s programs. I am a Girl Scout leader for a troop of Juniors. With a desire to see more than just the school where we hold meetings, the girls and I head off for a monthly outing.

Of course, I like to be productive with my outings if possible so I remembered the Archives staff had a Girl Scout Day in early October. Well, we had just started scouting so it was a little early for my girls. However, the staff at the Archives is accommodating. I had to schedule an outing and we were all set. I didn’t have my full troop, but those who attended enjoyed seeing the considerable stacks (visible use will be about 50,000 cubic feet of records). The girls were amazed to understand that this is only a fraction of what materials are available here in the Midwest.

Like traditional visitors, the scouts entered the Welcome Center and got to experience “Name Dropping.” There are famous signatures like Buffalo Bill Cody, Abraham Lincoln, and Thomas Edison. They took rubbings of those names home.

After a walk down a grand staircase, the girls found themselves at the Concourse Gallery. “It’s Big! (75^th Anniversary of NARA)” offers some big documents, big ideas, big personalities and big events. One example is the landmark case, Brown vs. the Topeka Board of Education. The documents are from the lower courts. Artifacts and photographs include an antique clock-face gas pump, a counterfeit fifty-cent bill, and an autographed picture of Russian Revolutionary Leon Trotsky posing with a group of young Americans.

Through its seven sections, the exhibit highlights the immense variety of events and people chronicled in the archives. The sections focus on some of the big themes, big events, and big personalities that appear in the history of our area: transportation, westward expansion, the break-up of Standard Oil, Brown v. Board of Education, the 1918 flu epidemic, personalities, and crime. The girls, with the help of a couple Archives employees, worked on a scavenger hunt through the exhibit. It was a good time. The girls made me laugh because they all liked learning about the crimes and cons that occurred around the Kansas City area. My daughter thought the counterfeit money was neat. Perhaps I should be worried, but I also think if a child finds something he or she likes in history, as adults we have to appreciate that they like it.

The troop ended their time at the Archives by making posters with Girl Scout images, the sorts that people can find at the Archives.

www.archives.gov/central-plains/kansas-city

“Up in the Air” soars high

By: Heidi Nast

Director Jason Reitman has changed courses from “Juno” to Oscar hums soaring around his latest film, “Up in the Air” about life experiences, the choices we make and ultimately, what our priorities truly are. George Clooney plays the role of Ryan Bingham, “Mr. On-the-Road 300+ Days a Year” and prides himself on mastering the art of the road, airports, security and those all important frequent flyer mileage points; a 10 million goal to be exact.  He flits and flies mostly between the breadbox of America, small towns with insignificant destinations, as one hotel room bleeds into another and after awhile, they all look alike and smell alike in his world of blissful anonymity.

Ryan’s primary job by day is traveling to meet employees of companies about their future.  He’s the “ax man” who sends corporate America adrift in a surreal and detached way, just as the road has taken its toll on Ryan’s jaded outlook of human behavior.  He interfaces with them when they’re in their most fragile state; he’s their wake-up call who makes limbo tolerable.  How does he do ‘dat?  He’s crafty and calculating and emits heartfelt heartlessness, the corporate Grinch with a smirk on his face and self-aggrandizing glee.  But really, what does he care; he’s barely on the ground before we see him back “Up in the Air”?

The topic he admires most about himself is the seminars he’s hired for, to talk to corporate America about the size of our “personal backpacks.”  Is it filled with family photos, heirlooms, tactile belongings and what about relationships?  How much stuff can one person carry around?  For Ryan, he prides himself on living with nothing, but what he can pack into his carry-on luggage.  Ah, but then Ryan meets his match, Alex, played by Vera Farmiga, as a mirror image of Ryan who avoids commitments and all the sordid details involved with excess baggage. He’s taken off guard. Alex is just as unemotional, just a cynical, just as well traveled, just as good looking and just as anonymous in Ryan’s life as he is, in his own way. They’re the perfect break for each other in their normal lives until Ryan becomes her parenthesis. No one deserves this or hmmmmmmm; maybe Ryan does?   

I would be remiss if I didn’t mention Anna Kendrick who plays the college grad ready to stamp her imprint into Ryan’s world at Career Transition Corporation, who knows how to slice and dice stats on a spreadsheet, but takes some hard knocks from Ryan, as she learns the ropes the hard way.  She’s naïve; she’s in her infancy of accumulating her frequent flyer miles and hasn’t grasped the full concept of Ryan’s style. She has a conscience. She has her feet planted firmly on land and fortunately, the altitude hasn’t gone to her head yet.  

“Up in the Air” is a really good movie that covers very uncomfortable subject matter.  The Oscar hums are well deserved and the acting from each is great.  Buckle your seatbelts; the ride gets bumpy.

Don't Forget, New Year's Eve with MTH!

Off Center Theatre
Crown Center, 3rd Floor
9pm to Midnight

Appetizer/Dessert Buffet
Live Band & Dancing
Champagne Toast

Then...
A New Year's Eve
Cabaret Special
with special guest!

$50/person  or
$75/couple

Reservations
(816) 221-6987

Chad Gerlt
Musical Theater Heritage
1600 Genessee, Suite 810
Kansas City, MO 64102
Box Office: (816) 842-9999
Business Office: (816) 221-6987
www.mthkc.com

Gingerbread Lane Sparkles

By Kellie Houx

For the second year in a row, I have been a judge for Gingerbread Lane, a benefit for the Children’s Center for the Visually Impaired. I feel really privileged to be asked along with many television and radio personalities in town as I walked up and down the Crestwood Shops. I sometimes wonder why I am chosen, but a co-worker tells me that I am the editor of KC Studio so my opinion might hold a little weight. 

Well, speaking of weight, the gingerbread creations from some master chefs have volume and heft. I often wonder how these creations are carted from the kitchen to the car and then to the store. Ah, logistics. Anyway, I am honored to judge this event. It’s a treat to see some great creations. 

Now I am not going to tell anyone which creation I gave more points to, but there were some standouts. Please remember, I tend to think like a child during this time of the year. Oh, one of the criteria is universal appeal to children and adults. Guess what – I try to see the work with both viewpoints.

One of the first houses to judge was “Spirit of Christmas” House by Nellie Metcalf of Nellie’s Custom Cakes out of Claycomo. As a fellow Northlander, I am pleased to see Metcalf’s work. I quickly spotted the Ghost of Christmas Present on the roof, Jacob Marley’s face as the doorknocker and the Ghost of Christmas Past surrounding a jovial and repentant Scrooge opening his window to embrace Christmas. The back of the gingerbread house featured the Ghost of Christmas Future and the graveyard. It’s a fabulous piece and one that I enjoyed.

“Santa’s Hot Rod” simply brought a smile to my face. Created by Scott Crompton of Phoenix Catering. The intricacies of this sweet ride are worth studying. It is a colorful creation with lots of heart. Or there is the work by chocolatier Rene Bollier. His chocolate house smelled wonderful.

“Santa’s Delivery,” created Hai Davies and James White from Argosy Casino, captured the flavor of Christmas. This was one gingerbread scene where almost every inch had a visual treat to examine — a cat walking the fence, penguins playing, snowmen on the lawn or Santa either coming in for a landing or preparing to head to the next good child’s house.

Needless to say, being a judge for this contest is just plain hard. I was impressed with every chef’s efforts. They are the sweetest representations of Christmas. Of course, having done stories on CCVI and all the good things they do to help low vision and blind children, it’s pretty easy to be a judge and share the word about the good things are going on at CCVI and the Shops at Crestwood. I can’t wait to see what happens next year when the 10^th anniversary event rolls around. 

Invictus’ action is caught in a scrum

By Jason Gregg

Invictus (it means unconquered, I had to look it up too) is a story about Nelson Mandela (played by Morgan Freeman) and his quest to unify an apartheid-riddled South Africa through the game of rugby in the early 1990s.

The story begins with Mandela’s release from prison. He becomes elected president and immediately begins work on bringing his country together. However, the movie drags along at a snail's pace for about an hour. For a movie dealing with a vicious sport such as rugby, I was expecting it to move along much more quickly and with a lot of brute force, as I would find in a rugby match. I forgot about "scrums" (a play in rugby where the two sets of forwards mass together around the ball and, with their heads down, struggle to gain possession of the ball) that can take a while to produce any kind of action. And, this movie did exactly that.

The movie has some very strong moments, though. One in particular was where director Clint Eastwood took a small fraction of the people of South Africa and used them to show what was happening on a larger scale. He did this by focusing on Mandela’s security detail.  Mandela had rehired the old security detail (a bunch of white guys) to work with his personal bodyguards (a bunch of black guys) to protect him. Mandela used these two groups as an example of how he wanted his fellow countrymen to act. Eastwood couldn’t show all 42 million South Africans having disagreements so he took eight people to tell the story of cooperation through their actions. Great job, I get it.

So, what about the rugby? Wasn’t this supposed to be a movie about rugby? Yes, I think it was supposed to be. It was also a movie about Mandela’s quest to bring people together. The rugby was used well, and not knowing enough about the sport, I wasn’t totally engulfed by the action scenes. There was one scene where the South African rugby team taught impoverished youths the rules of rugby. Here I wish they had capitalized on the scene more by telling the audience what goes on in a rugby match.  It wasn’t until the last 20 minutes where we were finally wowed with some gritty rugby action during the 1995 World Cup.

Should you see this movie? Tough question. If I say no, I go against the Eastwood/ Freeman establishment, which I don’t want to do because I think Freeman should get an Oscar nod for his portrayal of Mandela. If I say yes, I wouldn't say it enthusiastically. So I'll say this, if you want a biopic on Nelson Mandela's life, don't see this movie; and if you want a rough, in- your-face rugby movie, don't see this movie. But, if you want a little bit of both, then by all means take two hours and go see it.  

The Nelson-Atkins Museum of Art will unveil a new suite of American Indian galleries honoring the artistic achievement of Native peoples from across North America. With more than 6,100 square feet, the galleries will be among the largest devoted to American Indian art in any comprehensive art museum in the world and will quadruple the amount of space previously devoted to American Indian art at the Nelson-Atkins. Gaylord Torrence, the Fred and Virginia Merrill Curator of American Indian Art, says many museums may have larger collections, but here the collection has works of the highest quality or masterworks.

The galleries will showcase nearly 200 works of American Indian art, including a number of recognized masterworks. While the cultural and historical significance of objects is acknowledged within the presentation, the primary focus of the installation is artistic quality, in contrast to displaying works as cultural artifacts or historical relics of past civilizations. Grouped by eight main culture areas of North America, the new installation will include masterworks from many cultures from pre-European contact to the present: Woodlands, Plains, Southwest, Plateau, California and the adjacent Great Basin, Northwest Coast and Arctic. Navajo textiles, Woodlands and Plains quillwork, beadwork and sculpture, Pueblo pottery, Southwestern jewelry, Northwest Coast sculpture and California and Plateau basketry are among the artistic traditions represented in the Museum’s collection.

The new galleries are adjacent to the museum’s reinstalled American galleries, which opened in April. This orientation represents a bold philosophical shift at the Nelson-Atkins, defining the art of Native peoples as an essential part of the nation’s heritage. Torrence says the shift is to look at a piece as art and then see the piece as a gateway to the various cultures. So often, the Native American art is combined with the African and Oceanic art, but the new suites will allow the importance of Native people’s art to shine through, Torrence says.  

“It is our intent with these new galleries to represent American Indian art as an important part of America’s cultural legacy,” says Marc F. Wilson, the Menefee D. and Mary Louise Blackwell Director/CEO at the museum. “Together, the reinstalled American galleries and the new American Indian galleries will provide visitors with an uninterrupted, contiguous look at the achievements of American artists from pre-European contact to the present, something rarely if ever done by an encyclopedic fine arts museum.

Torrence, who arrived at the Nelson-Atkins in 2001 as founding curator of the museum’s first Department of American Indian Art, is recognized as one of the nation’s foremost authorities in the field. His task is to build the collection, plan and aid in the execution of the installation, and add more contemporary artists to the collection. He has written two books, “The American Indian Parfleche: A Tradition of Abstract Painting” and “Art of the Red Earth People: The Mesquakie of Iowa” with Robert Hobbs.

“The Nelson-Atkins is strongly committed to the recognition of American Indian art, and we are equally committed to exhibiting the work of contemporary artists in addition to those of earlier periods,” Wilson says. “We believe these new galleries will place the Nelson-Atkins in the forefront of America’s general art museums exhibiting in the field.”

“It is our goal in this new installation to present the extraordinary vision of Native American artists, from many cultures and throughout time,” Torrence says. “These objects communicate the creative expression of their individual makers; at the same time, they reflect the profound cultural traditions that underlie the meaning and power embodied within each work. It is an exhibit that will honor Native people and their artistic brilliance.”

Torrence says the art of indigenous people is utilitarian and expressive. Pieces are functional and function as a work of art, which is a step from the European ideals of art such as painting and sculpture. Now, crafts like ceramics and weaving are seen as viable art forms. “The pieces are also works of personal expression. They communicate an idea such as a woman’s identity or religion and are all objects of beauty. As an example, we have a painted shield. There is a buffalo, the spirit helper of the warrior, on the shield. It would be comparable to a painting in a church, a Russian icon or a statue of Buddha as its importance to the spiritual nature of the piece. There’s a blending of art, purpose and function.” The shield is a personal favorite for Torrence.

“These are works of the highest quality. For those visiting our city, our collection will be worth the trip. Those who are Kansas City residents, there will be a need to return often. We have masterworks to share with the world,” he says. “I can say that with the expansion and renovation of the American and the Native American galleries, plus the work at the Bloch Building, it is pretty much a new museum.”

www.nelson-atkins.org

For more than 100 years, the Nutcracker Ballet has been performed — first in Russia in the late 1800s and then in the United States (San Francisco) in 1944.  Now hundreds of ballet companies, professional and amateur, present the holiday classic, including several in the Kansas City area.

The ballet is based on the story “The Nutcracker and the King of Mice” written by E.T.A. Hoffman. The basic plot remains intact: a young German girl dreams her nutcracker toy becomes a prince, defeats the Mouse King and takes her to visit a magical kingdom.

 Kansas City Ballet

The Kansas City Ballet has presented choreographer Todd Bolender’s “The Nutcracker” for 36 years. Now preparing for the 37^th year, this family-oriented show that hits the status of holiday ritual, again includes students at the Kansas City Ballet School performing with the company.

Artistic Director William Whitener says, “The Nutcracker is a perennial favorite at the Kansas City Ballet. Danced to one of Tchaikovsky’s finest scores and played live by the Kansas City Symphony, it features a company of 26 professional dancers and over 200 Kansas City Ballet students who alternate in a variety of roles. It is a joyous experience for both the cast and audience members.”

www.kcballet.org

Premiere Ballet of Kansas City

Artistic Director Jonni Allen, along with her dance school, offers the third annual production of the full-length ballet, “The Nutcracker,” during mid-December. She strives to offer entertainment and education through classical ballet and gives performing opportunities to novice and professional dancers.

“This ballet is a magical, enchanting, Christmas experience that makes for a sugar plumtastic holiday tradition,” she says.  “It is professional quality with the gorgeous backdrops. Most of our costumes are originally designed by our wardrobe mistress, Frankie Wainwright, and constructed by hand by our wardrobe committee. Patrons enjoy the entire production since the scenes change quickly, but some annual favorites are the party scene when Clara receives her Nutcracker, and the Arabian and Russian dances in the second act.”

www.premiereballet.org

Ibsen Ballet Theatre

Ibsen Dance Theatre and Ibsen Ballet Theatre Youth Co. now performs “The Nutcracker” ballet every other year, as a benefit for the Northland Christmas Store. The company performed it every year from 1994 to 1999 and then moved to every other year. Preparing for the 11^th performance, directors Susie and Van Ibsen, along with their daughter Cameo, who leads the ballet company, have given proceeds to the agency that helps about 1,200 families annually with food and presents. This year, more than 80 students will give their time for two performances Dec. 12.

“Ibsen Dance Theatre’s production of ‘Nutcracker’ fills many needs in the Northland. It is a chance for the school’s ballet students to perform in a professional production complete with scenery and costumes and at the same time perform community service by donating their time and talents to benefit the area’s less fortunate,” Susie says.

www.ibsendance.net