Page 29 - ARUBA TODAY 29August2015
P. 29
A30
PEOPLE & ARTSSaturday 29 August 2015
Ballerina Misty Copeland calls Broadway debut ‘incredible’
MARK KENNEDY This photo provided by Joan Marcus on Aug. 28, 2015 shows ballerina Misty Copeland in the musi- Wednesday, after getting
AP Drama Writer cal “On the Town” at the Lyric Theatre. that first performance be-
NEW YORK (AP) — The stage Associated Press hind her.
lights have been hard to “I remembered all the
get used to and she wor- can Ballet Theatre, had derous standing ovation at feeling. I just felt so over- steps, but I wasn’t happy
ried about limited rehearsal only six rehearsals and sang the end. The audience was whelmed — that first en- with Miss Turnstiles. But I was
time, but ballerina Misty her dialogue out loud only more diverse and young. trance and throughout,” happy with how everything
Copeland has put aside twice before going on, but “The audience is so differ- she said. else went. The lights are
her nervousness and is find- each time she appeared ent from what I’m used Copeland admitted to very different on this stage
ing her feet on Broadway. the crowd went wild, cheer- to. You know immediately feeling pressure before her — they’re a lot stronger,”
“It’s an incredible feeling,” ing her entrances, big num- that they are excited to be debut Tuesday, but said she said. “But I’m already
she said this week after bers and giving her a thun- here, and it’s an incredible she enjoyed herself more starting to adjust and get
making her debut in the used to it.”
dance-heavy musical “On “On the Town,” which was
the Town” at the Lyric The- critically acclaimed when
atre. “I felt nervous that I it opened in October, has
was going to forget stuff, struggled to fill its enor-
which I don’t typically feel. mous, 1,874-seat theater.
We rehearse so much as It closes on Sept. 6, which
ballet dancers and the will also be Copeland’s last
steps become ingrained in performance.
your muscle memory.” “I’m so sad that the show
Copeland is playing Miss is leaving. I hope at some
Turnstiles, a love interest for point it comes back or trav-
one of three sailors enjoying els. It’s such an entertaining
a few hours of shore leave and spectacular produc-
in 1940s New York. The role tion,” she said.
requires both acting and Copeland said she goes to
singing, in addition to plen- the stage door after every
ty of dancing, including performance and hopes
a 15-minute ballet at the the crowds will follow her
end. The part was originally back uptown to the city’s
done by Megan Fairchild, ballet venues.
a principal dancer at the “It’s such a great crowd
prestigious New York City and I hope that me step-
Ballet. ping into this atmosphere
Copeland, who recently will make them feel that
became the first African- they’re invited to come
American woman to be a into my home,” she said.q
principal dancer at Ameri-
Bridgewater celebrates New Orleans on Katrina anniversary
CHARLES J. GANS This CD cover image released by OKeh/Sony Music/DDB Re- voice blow like a trumpet. leans-based series, with the
Associated Press cords shows “Dee Dee’s Feathers,” the latest release by Dee Bridgewater gets gritty on orchestra’s horns blasting
Grammy- and Tony-winner Dee Bridgewater. the Mardi Gras-parade sta- away, which segues into
Dee Dee Bridgewater is the ple “Big Chief,” exchang- the Rebirth Brass Band’s
most complete jazz singer Associated Press ing rousing vocals with party song “Do Whatcha
on the scene today — com- guest Dr. John and engag- Wanna.” The title track also
bining superb vocal chops some heart-tugging trum- chael’s “New Orleans,” she ing in a call-and-response featuring Summers, draws
and the acting talent that pet solos. On Hoagy Carmi- cuts loose by making her chorus with the orchestra. on the rhythms of the feath-
makes her a masterful in- The classic blues “St. James ery-costumed black New
terpreter of lyrics. Her skills Infirmary” is updated with Orleans Mardi Gras Indians
are fully displayed on “Dee customized lyrics in an up- with a repeated refrain of
Dee’s Feathers,” a joyful tempo arrangement. “Hold ‘em steady.”
collaboration with trum- The new songs are also Bridgewater and Mayfield
peter Irvin Mayfield’s New steeped in the tradi- conceived this project to
Orleans Jazz Orchestra. tion. Mayfield’s “Congo promote their collaboration
The release celebrates the Square,” a tribute to the on the newly opened New
Crescent City’s rich musical traditional birthplace of Orleans Jazz Market, the
tradition, past and present, jazz, features guest percus- city’s first solely-dedicated
on the 10th anniversary of sionist Bill Summers’ African jazz performance and edu-
Hurricane Katrina. drumming, while the trum- cation center. Located in
Among the traditional peter’s wistfully romantic a reconverted department
songs, Bridgewater shows ballad “C’est Ici Que Je store in the Mid-City neigh-
her fine and mellow side on T’Aime,” celebrates the borhood devastated by
“What A Wonderful World” city’s French tradition. Katrina, it’s a symbol of the
and “Do You Know What Bridgewater heats up with Big Easy’s rebirth and resil-
It Means,” balads popular- some energetic scatting iency a decade after the
ized by Louis Armstrong, on “Treme,” the exuberant storm.q
with Mayfield contributing theme to HBO’s New Or-
