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Performing Arts

by Tracy Shaffer

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Tracy with Paul Page

This is the question slated for the Telluride Playwrights Festival Open House on Thursday, and a conversation that circulates through the theatre community like a five dollar bill. I've popped this and a few other questions to some of the TPF participants. Grabbing a post-rehearsal snack at Smugglers with director/playwright William Missouri Downs, in from Wyoming to direct Telluride Rep actors in Phillip Gerson's This Isn't What It Looks Like.  A prolific author and playwright, Bill has eight upcoming productions around the country and just closed the Denver hit, Books on Tape.

08 July, 2010 /
[For Wah! click "Play"]

2008_hug1_thumb One singular sensation: "Her Wahness" is featured at the third annual Telluride Yoga Festival."Kirtan with Wah! Sean Johnson & the Wild Lotus Band" takes place Friday night, 7:30 – 10 p.m. at the Telluride Conference Center in the Mountain Village.

Sound as a means of healing is a technique –  or a variety of techniques –  recorded in the ancient Americas, Africa, Greece, China, and Rome, and dates back at least to 5,000 B.C. The Yoga tradition has known for centuries that sound is the new apple a day –  only more so. Chanting mantras has physiological benefits such as increasing circulation to the different parts of the body, balancing heart rhythm, deepening exhalation; emotional benefits, such as inducing relaxation and mood elevation; intellectual benefits such as improving memory function and recharging brain cells.
07 July, 2010 /
[click "Play" to hear Susan's interview with Jennie Franks]

People like secrets. Knowing them makes us feel important, even powerful. Here's one: the Telluride Playwrights Festival. Like the Telluride Musicfest, the Telluride Playwrights Festival is one of the best kept secrets on Telluride's summer cultural calendar –  despite the fact both events feature blue chip talent and reinforce the Telluride brand on world stage.

Last year, for example, the Telluride Playwrights Festival presented a play by Jan Buttram. Her "Phantom Killer” went on to get produced at the Abingdon Theatre in New York City this past February and received great reviews. Another Playwrights Festival alum, Tracy Shaffer, will see her Telluride script, "(W)Hole," go up in Denver this fall. Given the track record, it is a safe bet the  scripts written by this year's crop of carefully vetted playwrights – Philip Gerson, James Still and James McLindon, each highly regarded in the fields of theater and television – will meet with similar success. The best part: You can say you knew them when.
06 July, 2010 /
[click "Play" for Susan's interview with Jim Riley]

Sunset Show Summer traffic in the Telluride region is generally concentrated in our box canyon: the town of Telluride is central ops for all the major festivals, which tend, however, to concentrate their activities over long weekends. Mid-week the action shifts "uptown" to Telluride's sister town, the Mountain Village, where every summer Wednesday night, 6 p.m. rain or shine, the Telluride Mountain Village Owners Association presents the Summer Concert Series.

In its 11th year, the popular program draws on average 1,500 – 2,000 music lovers to the grassy slope known as Sunset Plaza at the top of the Chondala (Lift 1), where everyone seems to enjoy an opportunity to catch up with one another as much as revel in the sounds.
05 July, 2010 /
[to hear BBHC's Sam Andrew talking to Susan, click "Play"]

BBHCoriginalnologos Telluride's Sheridan Opera House welcomes Janis Joplin's original band to town. Big Brother & The Holding Company are performing live concert at the historic venue on Friday, July 2. Show time is 8 p.m. Doors and box office, 7:30 p.m. (Stop by the Sheridan Opera House courtyard from 5-8pm just prior to the show for a free Gala Premiere and Silent Auction, featuring paintings created by artists attending Telluride Plein Air’s 7th Annual Celebration of Outdoor Painting.  Complementary wine sampling and snacks provided.)

Janis Joplin brought her big, bad, bluesy voice from the red dirt of Texas to San Francisco, when "The Haight" was the heart of the drugs, sex and rock 'n roll flower child days of the 1960s. Virtually overnight, thanks to a man named Chet Helms, she went from drifter to a superstar universally described as "the greatest white urban blues and soul singer of her generation." That is, thanks to Helms and the band he managed, Big Brother & The Holding Company, which became Joplin's surrogate family.
30 June, 2010 /
[click "Play" for Adam Neiman's conversation with Susan]

Photo 32 The gravitational center of the Telluride Musicfest, June 23 – July 3, is the founding trio, The Trio Solisti: cellist Alexis Pia Gerlach, pianist Jon Klibonoff, and the event's artistic director, violinist Maria Bachmann. The group is renowned worldwide for sterling technical chops and no-holds-barred passion and lyricism. They play as one with perfect complicity.

"The most exciting piano trio in America," raved The New Yorker.

Like the Telluride Playwrights Festival, Telluride Musicfest is not a high profile event on Telluride's summer Festival calender: except like the heavies – Mountainfilm in Telluride and Telluride Film Festival – both attract world class talent. Case in point for Musicfest, pianist Adam Neiman. Adam joins Maria and the Trio for the 8th annual four-concert series: "From Russia with Love."
23 June, 2010 /
[click "Play" to hear Maria Bachmann's conversation with Susan]

TMF2010 final:highres Blame it on the the Russians. Telluride Musicfest's Maria Bachmann came to the States when her parents were forced to flee their homeland in 1956 after the revolution in her home country, Hungary, failed and the Red Menace tightened its grip. Eva and Tibor Bachmann's grit and self-sacrifice in their adopted country paid off. Son Peter became a dean of math and science at a college outside Philadelphia. And Maria grew up to be a world-renowned violinist, hailed recently (May 25) by The Philadelphia Inquirer for her:


"...near boundless expressive freedom...violinist Maria Bachmann projected the music's emotionalism, and dazzlingly attenuated the final movement in a mounting cauldron of rhythm."
22 June, 2010 /