My review of Sharyl Atkisson's Follow The Science: How Big Pharma Misleads, Obscures, and Prevails. Atkisson worked for CBS for decades, and NPR, she was as mainstream journalism as you can get. This is in what she found out about Big Pharma's influence on the media and our government, and about how they tried to block her stories. Up now at SPLICE TODAY:
The Princess and the Wind
by Leroy Osmon
performed by the Salem Symphonic Winds
and the Rainbow Dance Theatre
A rare conjunction of events created a little magic recently in Salem, Oregon. The Salem Symphonic Winds are celebrating 50 years and their director/conductor John Skelton commissioned a piece from his friend, the composer Leroy Osmon. Osmon, who lives in Mexico, had had the idea of a piece based on a Yucatán folktale for over twenty years, so finally had the opportunity to work the whole thing out. The Rainbow Dance Theatre, an internationally-renowned modern dance troupe based in nearby Monmouth was brought on board with the result being the world premiere of The Princess and the Wind, which they will be bringing out on tour.
The basic story is about a young woman, Emilia, in a village who thinks she is unattractive, until a young man, Emilio, comes to the village to work and takes an interest. The young woman saves a witch whom the villagers are trying to expel, and in gratitude, the witch helps the young woman and young man come together to get married. Oddly, during the marriage, the witch turns into a dove.
None of this is a spoiler—it’s explained, twice, in the program notes. Once by Osman, and again by the Artistic Director of the Rainbow Dance Theater, Valerie Bergman. The plot would probably not make sense without these explanations, but as with perhaps all ballet performances, this is just the thread holding the individual musical numbers together. Each stand on their own, musically and aesthetically, though having this thread helps them build on each other, and explains some of the creative choices. Not that any explanations are really necessary—one can just sit back and enjoy with ears and eyes.
The music is dramatic and could also stand on its own. In a quick in-person intro, Dr. Osmon explained that he wanted the music to be “challenging for the musicians, the dancers and the audience.” Challenging, but not inaccessible. There are some odd-times, one section in 5/4 was notable, but mostly the music just flowed, thanks to the collective wind instruments, and Skelton’s conducting. The percussionists provide the strongest link between the music and dancing, as ‘sound effects’ for the storyline, but also some driving rhythms.
The most impressive overall performance was by dancer Alanna Volk as the Witch. The ending piece, when the Witch “molts” into a dove, features her on a large suspended ring, which wouldn’t seem to allow for much movement or variety, but Volk somehow enchants, moving all her limps not as mere wiggling or writhing but something more smooth: casting a spell, in the story and on the audience.
The most amazing piece is Volk and Joey Nelson, as the Wind, performing on ‘self-balancing scooters,’ or ‘hoverboards.’ Shocking at first, almost to the point of absurdity, but the two of them—especially Volk—perform amazing balancing acts while somehow also circling around and with each other, backwards and forwards—all on wheels, movement more like figure-skaters, which feels—and looks—like two people dancing in (or with) the wind. This was the crowd favorite.
Also notable, and wild, were the costumes, designed by Kara Thoman. Starting with the erotic in an early scene—the three dancers Christine Anders, Alanna Volk (again) and Olivia Robbins playing Sadness, Fear and Doubt in sexy tight bodysuits in an attempted seduction of Emilia, trying to create doubt and pull her away from Emilio. But then in a later scene, when the Witch casts a helpful spell for Emilia, the three ‘Reflector’ characters arrive, danced by Seth Ellingsworth, Moises Martinez and Christine Anders. The two ‘regular’ Reflector dancers are covered in little mirrors, head to toe, so that Emilia can finally truly see herself, see her own beauty. Under the stage lights, they glow and glitter. The Lead Reflector (Ellingsworth) has larger mirrors, which come to life and glow and move at the touch of the Flower (Tessa Rosenau) whose costume is also wild and glowy. All this in contrast to the dark background (including the band) of Emilia’s world: her costumes become brighter and more colorful as she becomes more confident in herself, until finally she and Emilio share the same ‘look’ and become one.
The Rainbow Dance Theatre will be performing The Princess and the Wind again in their hometown of Monmouth May 8-10, at Rice Auditorium, apparently using recorded music. And, the audience was told, in other locations. They tour regularly in at least the west coast of the US and Canada, Vancouver down the Oregon Coast. Don’t miss the opportunity to experience The Princess and the Wind if they’re performing near you!
Check their website https://rainbowdancetheatre.org/
Also check out the Salem Symphonic Winds, playing regularly in Salem, Oregon: https://salemsymphonicwinds.org/
