Encore Atlanta

The 2010-2011 Broadway Across America-Atlanta season is coming to an end this May, but there’s no need to fret because the new season is just around the corner. Kicking off the season is Wicked (Sept. 14-Oct 9, 2011), followed by Dr. Seuss’ How the Grinch Stole Christmas (Nov. 29-Dec. 4, 2011), Memphis (Jan. 31-Feb 5, 2012), Billy Elliot the Musical (March 14-25, 2012) and Les Misérables (April 24-29, 2012). The season will close with Jersey Boys (May 22-June 10, 2012).

Wicked premiered at the Fox in 2006 and, thanks to high audience demand, it’s back as the season special. Have you ever wondered how the Wicked Witch got to be so wicked? Well this musical tells the backstory between witches Elphaba (the Wicked) and Glinda (the Good) before Dorothy spuns into the picture.

Just in time for the holidays, Dr. Seuss’ How the Grinch Stole Christmas transforms the well known classic about the grouchy Mr. Grinch into a toe-tapping musical. Watch his heart grow as you listen to songs such as,  “You’re a mean one, Mr. Grinch” and “Welcome Christmas.”

Memphis is the true story of a white  disc jockey who was one of the first to play black artists’ music on the radio in the 1950s. The show explores the forbidden love that develops between him and an African-American singer and features a wild rock ’n’ roll score.

Billy Elliot the Musical is about what happens when a boxer realizes his real passion is dance. The musical comedy takes place during the 1984-85 coal miners’ strike in Britain. While Billy’s father and brother are battling riot police, Billy is secretly taking ballet lessons. The score is written by renowned musician Elton John.

Travel back in time to 1815 Toulon, France, where the tragic story Les Misérables takes place. The classic tale of redemption and revolution is the third longest-running Broadway show in history, so don’t miss this 25th Anniversary production.

Last, but not least, is Jersey Boys. This documentary-style musical is based on the 1960s group The Four Seasons and tells the story of how four average boys — Frankie Valli, Bob Gaudio, Tommy DeVito and Nick Massi — became one of the most successful groups in pop music history. The musical features their most famous songs including, “Sherry,” “Big Girls Don’t Cry,” “Rag Doll,” and more.

Don’t  forget about the remaining shows left in the 2010-2011 season: Burn the Floor (Mar 22-27), Shrek the Musical (April 26-May 1) and Hair (May 17-May 22). For tickets or more information, visit broadwayacrossamerica.com/Atlanta/ or foxtheatre.org.

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Madeline is a senior at Centennial High School who plans on majoring in graphic design at Florida State University in the fall. This semester, She is interning as an editorial assistant with Atlanta Metropolitan Publishing, producers of Encore Atlanta.

Did you know … ?

• The Egyptian Ballroom, Grand Salon, and Spanish Room were all originally Shriner meeting spaces. The Egyptian Ballroom was reserved for Shriner ceremonies and celebrations, and the adjoining Grand Salon served as their library.
• The 7,500-sq. ft. Egyptian Ballroom’s original floor is hard rock maple. A custom-designed carpet with Egyptian symbols of the afterlife and resurrection now protects the maple floor.
• In the 1970s, the walls of the Egyptian Ballroom were covered with several coats of paint obscuring the original stenciled designs. As years of paint were removed, vivid Egyptian symbols for life and rebirth were revealed, along with row after row of fake hieroglyphics.
• Depicted on the Egyptian Ballroom’s balcony is a scarab, or dung beetle, which was the symbol for the sun god Ra, who was thought to ward off evil. It is surrounded by the wings of Osiris, god of the underworld, afterlife and resurrection.
• Above the Egyptian Ballroom’s stage stretch the gilded and glazed wings of Osiris. A plaster intaglio panel of Ramses II subduing an enemy is the focal point of the stage.
• The hieroglyphics on the underside of the balcony read, “Welcome you who is bringer of joy.”  The other hieroglyphics in the room are not arranged to make real phrases.

On Feb. 23, Actor’s Express Artistic Director Freddie Ashley sent out an urgent message to supporters of the 23-year-old theater: Help them raise $50,000 before the end of March and an additional $150,000 by June/July or bid goodbye to the daring experimental theater.

Over recent years, Actor’s Express has become the home of Libby’s Cabaret (since its Buckhead location was shuttered) as well as Essential Theatre’s annual festival of new plays. It’s supported budding playwrights, such as Lauren Gunderson and Steve Yockey, who have gone on to receive national acclaim, and trained numerous young actors in its internship program. Plays selected for the 2011-2012 season include two recent Broadway hits, an American classic and some new work — but that won’t happen unless Actor’s Express can pull itself out of debt, Ashley wrote.

Parties interested in making a donation may do so online or through PayPal.

On Feb. 23, Actor’s Express Artistic Director Freddie Ashley sent out an urgent message to supporters of the 23-year-old theater: Help them raise $50,000 before the end of March and an additional $150,000 by June/July or bid goodbye to the daring experimental theater.

Over recent years, Actor’s Express has become the home of Libby’s Cabaret (since its Buckhead location was shuttered) as well as Essential Theatre’s annual festival of new plays. It’s supported budding playwrights, such as Lauren Gunderson and Steve Yockey, who have gone on to receive national acclaim, and trained numerous young actors in its internship program. Plays selected for the 2011-2012 season include two recent Broadway hits, an American classic and some new work — but that won’t happen unless Actor’s Express can pull itself out of debt, Ashley wrote.

Parties interested in making a donation may do so online or through PayPal.

Chances are you’ve never given the floor of the Fox Theatre much thought. But did you know that you’re walking on a woven bit of history?

Here are some other fun facts:

• The Fox Theatre carpet design is based on photographs and a sample of the original carpet installed here in 1929.
• The design of the theatre carpet has symbols representing the Shriners and William Fox.
• Bloomsberg custom-made the Fox Theatre’s Auditorium and Egyptian Ballroom carpets this year. More than one acre of carpet was made.
• The wool for our carpet came from sheep in New Zealand.
• The installation took 21 days to complete and over 900 hours.

The Atlanta Opera’s 2011-12 season features three fantastic shows: Lucia Di Lammermoor, the story of a woman who is forced into a marriage, setting off a domino effect of tragedies; Don Giovonni, Mozart’s tragicomic take on famous anti-hero Don Juan; and The Golden Ticket, a comic opera based on the popular children’s book Charlie and the Chocolate Factory (which might be more familiar to film fanatics as the movie Willy Wonka and the Chocolate Factory).

Because the Atlanta Opera’s mission is to make opera more accessible to modern audiences, ticket prices start as low as $25 and educational programs often are offered free of charge. They take an unconventional approach to education and outreach, as well. At a recent “Pop-up Opera” held last fall, shoppers at a Sandy Springs farmers market were completely, yet pleasantly, surprised as a singer amongst them began to belt out a song from the opera La bohème. Check out this video to see for yourself how engaging opera can be.

Don’t miss the last two shows of the 2010-2011 season: Così fan tutte (April 9, 12, 15 and 17, 2011) and Porgy & Bess (Feb. 26, March 1, 4 and 6, 2011). Also coming up is the exciting 24-Hour Opera Project during National Opera week. Talented young composers will have 12 hours to write a seven- to 10-minute opera that will be performed Nov. 7 at 7:30 p.m. at Georgia State University.

To find out about more Atlanta Opera events (including Pop-up Operas) follow them on Twitter @TheAtlantaOpera or visit atlantaopera.org.

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Madeline is a senior at Centennial High School and will be attending Florida State University in the fall.

Atlanta-based Charles Loridans Foundation closed out 2010 by awarding $444,500 in new  grants to six local mid-sized theater companies, music companies and museums. All told, the foundation gave local arts organizations nearly $600,000 last year.

Robert Edge, chairman of the Loridans Trustees, made the announcement of the grants last month, stating that it was important to help the city’s arts organizations during periods of economic downturn. “The Loridans Trustees are proud to support the efforts of the many people who day after day give their all to making life in Atlanta richer and fuller for all of us,” he said.

The Museum of Contemporary Art of Georgia received $100,000 to support its Working Artist Project and an additional $50,000 to support its move to midtown Atlanta, where it will occupy a new building being constructed across the street from the High Museum of Art. The Rialto Center for the Arts received $100,000 to bring nationally renowned dance troupes to the city. Actors Express, Georgia Shakespeare, Horizon Theatre, Seven Stages, Shakespeare Tavern and Theatrical Outfit each received grants of $25,000. The remaining $44,500 in grants was given to Il Brasso Magnifico, Jazz Orchestra Atlanta, Atlanta Chamber Players, Atlanta Symphony Orchestra, Atlanta Opera and the Alliance Theatre.

Who says you have to eat alone? On Feb. 15 at noon, join the director and principal singers and members of the Atlanta Opera chorus for a three-course seated luncheon at the St. Regis Atlanta.

The lunch is in celebration of the Atlanta Opera’s upcoming production of George Gershwin’s Porgy & Bess, which runs February 26 and March 1, 4 and 6. Cost of the three-course meal, including valet parking, is $80. If you’re interested in attending, RSVP by Feb. 7 to Amanda Wilborn, or call 404-591-2928.

Who says you have to eat alone? On Feb. 15 at noon, join the director and principal singers and members of the Atlanta Opera chorus for a three-course seated luncheon at the St. Regis Atlanta.

The lunch is in celebration of the Atlanta Opera’s upcoming production of George Gershwin’s Porgy & Bess, which runs February 26 and March 1, 4 and 6. Cost of the three-course meal, including valet parking, is $80. If you’re interested in attending, RSVP by Feb. 7 to Amanda Wilborn, or call 404-591-2928.

Children inhabit a world of possibility and imagination, where they can be and do anything. As they grow up and are faced with everyday realities and concerns, it’s very hard to hold on to that world. The fictional boy Peter Pan, however, has found a way to never grow up. Perhaps that’s why the story of how he enchants the Darling children,  introduces them to Neverland and his gang of ageless “lost boys,” and fights the tyrannical Captain Jack Hook has captivated audiences for more than 100 years.

This threesixtyº production of J.M. Barrie’s classic story aims to create an environment that is every bit as magical as the tale that unfolds beneath its tented parameters. Utilizing the same computer-generated imagery (CGI) that movie audiences have seen animate Pixar films and special effects in movies such as Avatar and the Harry Potter series, the Peter Pan set is made up of 3-D images projected to create a 360-degree stage set that is the first of its kind. Inside the threesixtyº Theatre, 12 projectors create the illusion of a virtual world, filling the interior of the 1,300-seat tent with more than 15,000 square feet of high-resolution video and creating a panoramic set that’s three times the size of an IMAX theater screen.

“The set designer, William Dudley, came up with the idea,” says co-producer Robert Butters. “He saw the inside of the tent and said, ‘Wow, that would be amazing — to be able to create 360-degree computer generated imagery that takes you on this flight, but doesn’t overwhelm the story.’”

Thanks to Dudley’s inspired idea, when Peter Pan flies with Wendy to Neverland, the audience flies with them over 400 square miles of virtual London and beyond. Not surprisingly, this is Butters’ favorite moment in the show, because “When you see that first flight, you really do hear audible gasps.”

But, he is quick to point out, this production isn’t all about fancy special effects. The producers wanted to create a theater environment in which to tell great stories. And this stage production is very faithful to the world of J.M. Barrie’s original play, which is more bittersweet and complex than the Disney animated film or subsequent Broadway musical.

“Our Tinker Bell is fairly feisty,” Butters says. “[And], it’s a fairly sad story about Peter. Everybody else grows up, but he doesn’t. It’s about growing up, it’s about adolescence, it’s about all the things that we deal with each day. Adults really do come out feeling like they have seen something that moves them.”

And, he says with a laugh, children do too. “I have four young kids, and I have a three-year-old who now won’t wear a shirt because he’s seen Peter Pan and [wants to] act like Jack Hook,” Butters says. “He understands the story. [He] connects to it because it has such great imagery. Even though the show for that age person is slightly longer than they’d ever sit through, they sit mesmerized because there’s something going on at all times.”

The Atlanta engagement of Peter Pan marks its East Coast premiere, and only its third stop on a national tour. It originally premiered last year to sold-out crowds in London’s Kensington Garden, the literal birthplace of Peter Pan (where Barrie got his inspiration for the story), and is here fresh from engagements in San Francisco and Orange County, Calif. It takes 14 days to erect the tented stage and prepare the theater for performances. Throughout the run of the show, backstage “Inside Neverland” tours will offer audiences a look at the work that went into creating the world’s first 360-degree CGI theater set.

Butters says they’re excited to bring the show to Atlanta, which has a “great culture” with a growing reputation for supporting theater, especially tented attractions.

“Also, because of where we are adjacent to the World of Coke, I think we really will appeal to people who haven’t gone to a more traditional theater before,” Butters adds. “There hasn’t been anything like this in that environment, we’re in a great location, [and] we feel honored to be there.”

Peter Pan plays from Jan. 21-March 20 adjacent to the World of Coca-Cola by Centennial Olympic Park. For more information, visit peterpantheshow.com.