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DTSTART;TZID=America/New_York:20190309T183000
DTEND;TZID=America/New_York:20190309T183000
DTSTAMP:20260403T225939
CREATED:20181212T002959Z
LAST-MODIFIED:20240219T150841Z
UID:10000026-1552156200-1552156200@ogunquitperformingarts.org
SUMMARY:Stillson School of Irish Dance
DESCRIPTION:Irish Stepdancing continues to be a wildly popular art form for performers and audiences alike.  Ogunquit Performing Arts celebrates this unique style of dance at this most appropriate time of year.   The award-winning Stillson dancers\, returning to Ogunquit by popular demand\, will perform a brilliant array of jigs and reels\, dressed in a variety of dazzling\,  hand-made costumes. \n \nThe performance will consist of both the fluid soft shoe style as well as the rhythmic hard shoe popularized by shows such as Riverdance and Lord of the Dance. \nAt the end of the performance\,  the dancers will invite children and the young at heart  to join them onstage to learn or try out some steps.  A reception with refreshments will conclude the evening. \nThe Stillson School of Irish Dance is under the direction of the celebrated dancer/teacher Carlene Moran Stillson ADCRG/TCRG.  She is accredited by Ad Coimisium in Dublin\, Ireland and a member of IDTANA (Irish Dancing Teacher’s Association of North America).  Carlene has a long tradition of dancing having started at age 4.  She has competed in the New England Regional\, North American\, and World Championships. \nIn existence for more than 20 years\, the Stillson School is the only certified school of Irish dancing in the state of Maine and its dancers compete all over New England and place in the New England Regional Irish Dancing Championships annually\, and in competitions around the world. \n \nIn addition to the dance performance\, Carlene Stillson will tell about the history of the dance and explain the reasons for the design of the many different costumes worn by the dancers.  Traditional Irish dress is represented in the school dress which features embroidery designs taken from the Book of Kells. \nThe Stillson School of Irish Dance also has an active show team which has performed throughout New England as well as on the Elipse lawn of the White House. They have been featured dancers accompanying such renowned Celtic performers as Solas\, Cherish the Ladies\, Trinity Dance Company\, Liz Carroll\, Billy McComiskey and Mick Moloney\, and Eileen Ivers.
URL:https://ogunquitperformingarts.org/event/stillson-school-of-irish-dance-3/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Live Performance
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/12/190309_LP_Stillson.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190303T140000
DTEND;TZID=America/New_York:20190303T140000
DTSTAMP:20260403T225940
CREATED:20181109T233457Z
LAST-MODIFIED:20240219T150842Z
UID:10000025-1551621600-1551621600@ogunquitperformingarts.org
SUMMARY:Classic Film:  Cape Fear
DESCRIPTION:Cape Fear (1962) \n \n“In the annals of screen psychopaths\, there are few who can top Robert Mitchum’s portrayal of Max Cady in the 1962 version of Cape Fear.  A convicted sex offender who is released from prison after serving a six year sentence\, Cady is a walking time bomb\, biding his time until he can take revenge on the prosecutor who put him away.  Everything about him exudes menace\, from his hooded eyes and insouciant sexual swagger to his smirking\, undisguised contempt for everyone he meets.  Mitchum was born to play this role and he applies the same relentless intensity to the part that he brought to his portrayal of Harry Powell\, the homicidal preacher from The Night of the Hunter (1955). \n \n“Gregory Peck actually deserves the credit for casting Mitchum as Max Cady and taking the more low-key role of attorney Sam Bowden.  After buying the rights to the John D. MacDonald novel\, The Executioners\, Peck reassembled several previous collaborators who had served him well in the past\, namely J. Lee Thompson\, who had just helmed the enormously successful war adventure\, The Guns of Navarone (1961)\, producer Sy Bartlett and screenwriter James Webb.  Initially\, Rod Steiger and Telly Savalas were considered for the part of Cady but once Mitchum became a possibility\, Peck pushed for his commitment.  At first Mitchum didn’t want to do the film but finally relented after Peck and Thompson delivered a case of bourbon to his home. His reply\, ‘Ok\, I’ve drunk your bourbon… I’ll do it.'”   Jeff Stafford for TCM \nCape Fear also stars Polly Bergen\, Lori Martin\, Martin Balsam\, Barrie Chase\, and Telly Savalas. \n \nThompson had always envisioned the film in black and white prior to production. As an Alfred Hitchcock fan\, he wanted to have Hitchcockian elements in the film\, such as unusual lighting angles\, an eerie musical score\, closeups\, and subtle hints\, rather than graphic depictions of the violence Cady has in mind for the family. \nThis scene where Mitchum attacks Polly Bergen’s character on the houseboat was alleged to be somewhat improvised.  Before the scene was filmed\, Thompson suddenly told a crew member: “Bring me a dish of eggs!”  Mitchum’s rubbing the eggs on Bergen was not scripted and Bergen’s reactions were presumably real.  While filming the scene\, Mitchum cut open his hand\, leading Bergen to recall: “his hand was covered in blood\, my back was covered in blood. We just kept going\, caught up in the scene. They came over and physically stopped us.” \n \nThe Production Code Administration still wielded power in the film industry in the early sixties and Cape Fear was certainly a cause for concern for them. After reviewing the film\, suggestions were made to remove several shots and references.   British censors demanded 161 cuts! Cape Fear was finally released there shorn of six minutes of footage. \nBecause of the film’s disturbing nature\, critical reviews were mixed.  Yet\, the film’s claustrophobic sense of impending terror and Mitchum’s mesmerizing performance are hard to dismiss lightly\, and the film is now recognized as a psy chological thriller masterpiece\, eclipsing even the 1991 remake by Martin Scorsese.
URL:https://ogunquitperformingarts.org/event/classic-film-cape-fear/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Classic Film Series
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/11/190303_CapeFear.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190203T140000
DTEND;TZID=America/New_York:20190203T140000
DTSTAMP:20260403T225940
CREATED:20181109T231446Z
LAST-MODIFIED:20240219T150842Z
UID:10000024-1549202400-1549202400@ogunquitperformingarts.org
SUMMARY:Classic Film:  Guys and Dolls
DESCRIPTION:Based on the short stories of Damon Runyan\, and with music and lyrics by the legendary Frank Loesser\, the original production of Guys and Dolls opened on Broadway November 24\, 1950\, and ran for 1200 performances.  The film version\, starring Marlon Brando\, Jean Simmons\, Frank Sinatra and Vivian Blaine (recreating her stage role as Adelaide)\, had the highest box office gross of 1955.  The film also features Stubby Kaye\, B.S. Pully\, Johnny Silver\, and Sheldon Leonard. \nGuys and Dolls is a fable about gambling men\, and the women who try to tame them.  Set in the colorful world of New York’s Times Square in the mid-20th century\, the flashy and witty Guys and Dolls is populated with gangsters and gamblers\, thugs and mugs\, missionary dolls and scantily clad showgirls\, and one of the great musical scores in the history of American theatre. \nIt all begins with a bet.  In a desperate effort to finance a location for “The Oldest Established Permanent Floating Crap Game in New York” and under pressure from its gangster participants\,  Nathan Detroit (Sinatra) bets high-rolling gambler Sky Masterson (Brando) that Sky cannot persuade Save-A-Soul Mission Sergeant Sarah Brown (Simmons) to accompany him on a trip to Cuba.  While the worldly Sky works his charms on a wary Sarah\, Nathan is doing his best to stay outside the matrimonial clutches of his long-suffering fiancée\, showgirl Miss Adelaide (Blaine). \n \nSongs include well-known Loesser favorites\, including such dynamic ensembles as “Luck Be a Lady”\, “Sit Down\, You’re Rockin’ the Boat”\, “Fugue for Tinhorns” – (I’ve Got the Horse Right Here!)\, and the title song.   Loesser added two lovely ballads written especially for the film\, “Adelaide” and “Woman In Love.”  Under the direction of Joseph L. Mankiewicz\, with fabulous dance numbers choreographed by Michael Kidd\, and new music coming from the composer\, the musical was given the usual lavish attention by MGM Studios. \nBorn in 1910 in New York\, composer Frank Loesser never studied music formally\, although he certainly came under the influence of his father\, a distinguished German-born teacher of classical piano\, and of his older brother Arthur\, who was a renowned concert pianist and musicologist. \nIn a few short years\, Loesser created five Broadway musicals whose impact and popularity continue to this day.  Over the years the many revivals of Guys and Dolls\, The Most Happy Fella\, How To Succeed in Business Without Really Trying\, Greenwillow\, and Where’s Charley?\,  have enjoyed as great success\,  and have won multiple awards equalling\, and sometimes exceeding\, the original productions. \n \nIn the late 1940’s\, Loesser also formed his own music publishing company\, Frank Music Corporation\, with the primary purpose of discovering and developing new and young popular composers and lyricists.  The company became a major force in music publishing\, licensing of secondary theatrical rights\, and production of printed music editions. \nIn the midst of all his stage work and publishing projects\, Loesser was no stranger to Hollywood and composed\, wrote\, or co-wrote for some fifty films.  He created one of his best loved scores for the film\, Hans Christian Anderson\, which featured such songs as “Wonderful Copenhagen”\,  “Anywhere I Wander”\, “The Inch Worm”\, and “Thumbelina”\, which was nominated for an Academy Award. \nFrom the Pulitzer Prize to the American Theatre Wing’s Tony Award to Hollywood’s highest honor\, Frank Loesser won them all.
URL:https://ogunquitperformingarts.org/event/classic-film-guys-and-dolls/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Classic Film Series
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/11/180203_GuysDolls.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190106T140000
DTEND;TZID=America/New_York:20190106T140000
DTSTAMP:20260403T225940
CREATED:20181027T173228Z
LAST-MODIFIED:20240219T150843Z
UID:10000023-1546783200-1546783200@ogunquitperformingarts.org
SUMMARY:Classic Film: One\, Two\, Three
DESCRIPTION:Pamela Tiffin watching as Horst Buchholz and James Cagney are about to get into a food fight in a scene from the film ‘One\, Two\, Three’\, 1961. (Photo by United Artists/Getty Images) \nOne\, Two\, Three is a 1961 brilliant American comedy film directed by Billy Wilder\,  and written by Wilder and I. A. Diamond.   The comedy stars James Cagney\, Arlene Francis\, Horst Buchholz\, Pamela Tiffin and Lilo Pulver.    It was filmed in West Berlin and Munich in the summer of 1961. \nThe film is primarily set in West Berlin during the Cold War\, but before the construction of the Berlin Wall. It  is known for its extraordinary fast pace\, taking satiric aim at communism\, capitalism\, post-war Germany\, corporate America\, previous Cagney films\, alligator shoes\, and a host of other targets. \n  \nBilly Wilder wrote and/or directed a wide variety of pictures during his renowned career.   But he’s probably best known for the stunning comedies he created with screenwriter I. A. Diamond.  One\, Two\, Three is a prime example\, with a mile-a-minute script pitting Coca-Cola against Communism. \nJames Cagney’s performance is a tour de force\, delivering pages of script at dizzying speed.  In Cameron Crowe’s book\, Conversations with Wilder (Alfred A. Knopf)\, the director commented on Cagney’s delivery\, saying “We knew that we were going to have a comedy\, we [were] not going to be waiting for the laughs. But we had to go with Cagney\, because Cagney was the whole picture. He really had the rhythm\, and that was very good…” \nIn the film\, Cagney plays C.R. MacNamara\, Coca-Cola’s ambitious head of bottling in West Germany\, who is determined to cut a deal to distribute Coke to the Russian market while at the same time desperately trying to prevent the boss’s visiting flighty daughter (Tiffin) from marrying a card-carrying communist hippie (Buchholz)\, while under the disapproving eye of his own neglected wife (Francis). \nThen in his early sixties\, Cagney was not initially certain he should take on the part.  On reading the script\, he understood that the bulk of the film rested on his abilities and stamina.  And indeed\, Wilder’s insistence on breakneck\, rat-a-tat-tat timing to each and every scene soon began to wear on Cagney\, – especially on those occasions when the actor received pages of script only the night before\, and then was expected to spit out a steady stream of complex dialogue while handling equally complicated stage direction.  Cagney was genuinely irked that Wilder demanded word-for-word perfection and wouldn’t accept even the slightest bit of paraphrasing. \nHe was even more aggravated with Buchholz\, the only actor whom Cagney\, a consummate gentleman\, ever openly disliked.   Said Cagney\, “…this Horst Buchholz character I truly loathed. Had he kept on with his little scene-stealing didoes\, I would have been forced to knock him on his ass\, which I would have very much enjoyed doing.” \nDespite everything\, Cagney achieved a triumphant performance and enjoyed a great success with this film.  However\, One\, Two\, Three also would be his last film appearance until Ragtime  in 1981\, 20 years later. \nThe film won kudos from the staff at Variety. They wrote\, “Billy Wilder’s One\, Two\, Three is a fast-paced\, high-pitched\, hard-hitting\, lighthearted farce crammed with topical gags and spiced with satirical overtones. Story is so furiously quick-witted that some of its wit gets snarled and smothered in overlap. But total experience packs a considerable wallop.” \nDespite great reviews\, and awards from the Academy\, Golden Globes\, and Writers Guild of America\, One\, Two\, Three did not do well at either the U.S. or German box office. The lighthearted East-West Berlin story felt much more sinister at the release\, since the Berlin Wall had been built after filming began.  (The building of the Berlin Wall began during the night of August 13\, 1961\, – right through the film set at the Brandenburg Gate.   The film team\, discovering the change in the morning\, had to move the production to Munich.) \nOne\, Two\, Three was also banned in Finland from 1962 to 1986 on “political” grounds — it was feared that the film would harm relations between Finland and the Soviet Union.  United Pictures Finland tried to get the film released theatrically in 1962\, 1966 and 1969 but it was only in 1986 that the Finnish Board of Film Classification allowed the film to be distributed. \nIn a complete reversal of fortune\, the film was also received enthusiastically in Germany upon its 1985 re-release in movie theaters.   One\, Two\, Three was given a grand re-premier at a large outdoor showing in Berlin which was broadcast simultaneously over television. The film went on to spend a year in the Berlin theaters as it was rediscovered by West Berlin citizens.
URL:https://ogunquitperformingarts.org/event/classic-film-one-two-three/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Classic Film Series
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/10/180106_CFS_OneTwoThree.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181202T140000
DTEND;TZID=America/New_York:20181202T140000
DTSTAMP:20260403T225940
CREATED:20181027T170827Z
LAST-MODIFIED:20240219T150843Z
UID:10000022-1543759200-1543759200@ogunquitperformingarts.org
SUMMARY:Classic Film:  The Nutcracker
DESCRIPTION:Filmed at the Royal Opera House by the BBC\, this historic performance from 1968 captures Rudolf Nureyev at the peak of his career.  The ballet is in two acts adapted from Alexandre Dumas – Music:  Piotr Ilyitch Tchaikovsky – Choreography:  Rudolf Nureyev after Marius Petipa and Lev Ivanov – Production:  Rudolph Nureyev.  Co-starring Merle Park with Artists of the Royal Ballet\, London. \nThe Nutcracker was created on the 18th December 1892 at the Maryinski Theatre in Saint-Petersburg.   Rudolf Nureyev staged The Nutcracker for the first time in November 1967 for the Royal Swedish Ballet following the request of Erick Bruhn. This version was to be revived several times in London\, Milan\, Buenos Aires and Berlin. \nNureyev aimed to retain the ballet’s appeal to children while changing the balance of roles and choreography to be of more interest to adults as well.  The work traditionally featured the toymaker Drosselmeyer giving a magic nutcracker to the child Clara\, who is then transported to a distant land of sweets\, where she enjoys watching a series of dances by solo artists from the ballet company\,  climaxed by the famous dance of the Sugar Plum Fairy and her Prince. \nThe original libretto by Alexandre Dumas was completely revised by Nureyev who gave his version of The Nutcracker a psychoanalytic dimension: Drosselmeyer and the Prince are one and the same person\, representing the ideal man dreamt up by the heroine\, ready to leave her childhood and become a young woman.  Clara herself becomes the Sugar Plum Fairy and Princess\, joining her Prince in the final Grand Pas de Deux. \nWith the additional choreography for these two\, including another Pas de Deux in the first act\, Nureyev created two major roles suitable for a company’s leading dancers\, and gave the ballet a more cohesive plot. \nThis new approach was soon adopted in other companies and productions\, including one by Baryshnikov for American Ballet Theatre ten years later. \nFrom the beginning of his career\, Nureyev had already changed the role of the male dancer in the general repertoire\, which heretofore had traditionally been to support and showcase the ballerina\, with only a few solo moments for himself.  Nureyev upgraded the choreography\, requiring the premier danseur to perform as intricate and demanding steps as the prima ballerina\, whether in unison\, mirror-image\, or complementary fashion. \n“He made a revolution on the way to consider a male dancer\,” says dancer Laurent Hilaire. “All of the big classical ballet was meant to value the woman\, and also his work reflected the dance he saw in Denmark\, France\, England and Russia. He learned from all over the world and he created his own style. You know when it’s a step from Nureyev as soon as you see it. You cannot really compare it\, but his choreography is as rich as the language of Shakespeare or Molière.” \n“For me\, purity of movement wasn’t enough.   I needed expression\, more intensity\, more mind.” Rudolph Nureyev \nHis choreographies were extremely intense and vivid. Never one to take the easy way out\, if the musical theme was repeated four times\, he wanted the step to be performed four times keeping the same purity and the same simplicity (which is\, basically\, the most difficult!)\, the repetition enriching the impression of discipline and beauty. \nNureyev was also known for his seemingly effortless leaps and jumps.  In classical ballet jumps aim at a vertical elevation; in modern ballet\, they move horizontally through space.  Nureyev implemented a combination of the two: to jump very high whilst moving across the stage.  The spectator has the impression that the dancer is flying\, and is instantaneously suspended in midair. \nAll of the achievements of this tremendous dancer are reflected in this live performance film\, in his sumptuous production recalling the ballet’s Russian origins.   Nureyev is joined by The Royal Ballet’s prima ballerina Merle Park\, whose glowing performance of this new role lifted her to international stardom in the world of dance. \nSources:   The Rudolph Nureyev Foundation; The New York Times
URL:https://ogunquitperformingarts.org/event/classic-film-the-nutcracker/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Classic Film Series
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/10/181202_CFS_Nutcracker.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181104T140000
DTEND;TZID=America/New_York:20181104T140000
DTSTAMP:20260403T225940
CREATED:20180923T222157Z
LAST-MODIFIED:20240219T150843Z
UID:10000021-1541340000-1541340000@ogunquitperformingarts.org
SUMMARY:Classic Film:  The African Queen
DESCRIPTION:The African Queen is the first film in Ogunquit Performing Arts 2018-19 Classic Film Series.\nOgunquit Performing Arts presents the first film in its 2018-19 Classic Film Series on Sunday\, November 4\, 2018 at 2 pm in the Dunaway Center with the screening of The African Queen.  Starring Katharine Hepburn and Humphrey Bogart\, this classic adventure film will be shown on a wall-sized screen\, with free admission\, parking\, and popcorn.  Judson Dunaway Center\, 23 School Street\, Ogunquit. \nThe African Queen (1951) began as a novel written by English author C.S. Forester and published in 1935. This unique adventure story about the relationship between a prim spinster and the scruffy boat captain who takes her down the river was kicked around as a potential movie idea for years in Hollywood. RKO thought about making it with Charles Laughton and his actress wife Elsa Lanchester\, but ultimately the project was scrapped. The thinking was that audiences would not want to see a romance between two middle-aged people…. \nStill\, others saw potential in The African Queen. In 1946 Warner Bros. bought it as a possible vehicle for Bette Davis. That never came to fruition\, however\, and by 1947 they were trying to unload the property. \nDirector John Huston\, who had always been a fan of the book\, wanted desperately to purchase the rights to the property with his producing partner Sam Spiegel as a project for their independent film company. Horizon Pictures…Funding for the project was achieved by a collaboration with Sound Services Inc.\, whose equipment was also used in the film’s production. \nHuston was adamant that writer James Agee would be the one to help him write the screenplay. Agee was a poet\, novelist and film critic whose work Huston had always admired…Agee agreed and flew out to California\, where he and Huston holed up in a resort hotel outside of Santa Barbara to work on the screenplay. They set a strict regimen for themselves of work and exercise. Though they got a tremendous amount done\, Agee was not taking care of himself-he was drinking\, smoking and eating too much and not getting enough sleep. Before they could finish the script\, Agee had a heart attack and was out of commission for a lengthy recuperation. \nMeanwhile\, Huston was searching for the ideal leads. Katharine Hepburn was the first one contacted. In 1950 she was touring with the stage production of Shakespeare’s As You Like It\, which was currently playing in Los Angeles. Sam Spiegel sent her a copy of the original novel The African Queen to read while she was staying at the home of her good friend Irene Selznick. She read it and loved it\, knowing that the part of Rose would be perfect for her. \nSam Spiegel came out to visit Hepburn\, and the two discussed the project and potential actors to play opposite her. Charlie Allnut was supposed to have a Cockney accent\, which limited their choices until Spiegel suggested Humphrey Bogart. They both thought him perfect for the part and simply decided to make his character Canadian\, which would solve the problem of the Cockney accent. As Katharine Hepburn later wrote in her 1987 book The Making of the African Queen; or How I Went to Africa with Bogart\, Bacall and Huston and Almost Lost My Mind\, “Now\, looking back at that conversation-can you imagine anyone but Bogie playing that part? He was really it-hook\, line and sinker”. \nJohn Huston and Humphrey Bogart had worked well together previously on The Maltese Falcon (1941)\, Across the Pacific (1942)\, The Treasure of the Sierra Madre (1948) and Key Largo (1948) so Huston called up his old pal and said\, “Hey\, old son\, I have a great property. The hero’s a low-life\, and since you’re the biggest low-life in town the part is therefore ideal for you!” Though Bogart wasn’t keen on shooting in Africa\, he trusted his friend Huston. “He’s brilliant and unpredictable\,” said Bogart of Huston. “Never dull. When I work with John\, I think about acting. I don’t worry about business.” Huston\, in turn\, called Bogart “an ideal collaborator and companion…He’s a joy to work with…his figure seemed to find its way into whatever I did.” \nBogie had never worked with Katharine Hepburn\, and neither had John Huston for that matter. The actor was somewhat leery of working with her\, having heard she could be difficult. However\, when Bogie and Huston met with Hepburn\, she won them over. In her 1979 autobiography By Myself\, Lauren Bacall (Humphrey Bogart’s wife) said that Bogie had never wanted to travel out of the country\, but she herself was longing to go and see the world. “Bogie\,” she said\, “liked his life as it was; going to New York was all the traveling he wanted to do. Finally Sam Spiegel told Katharine Hepburn that he had Bogie and John – to John that he had Bogie and Katie – told Bogie that he had John and Katie – and The African Queen was put together.” \nThe African Queen was a big box office and critical success\, honored with four Academy Award nominations for Best Actor\, Actress\, Director and Screenplay. It also provided a major career boost for the director and his two stars. In fact\, Humphrey Bogart scored his biggest triumph with his role as Charlie Allnut\, and he won his only Academy Award as Best Actor for it. \nby Andrea Passafiume for Turner Classic Movies
URL:https://ogunquitperformingarts.org/event/classic-film-the-african-queen/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Classic Film Series
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/09/181104_CFS_AfricanQueen.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181012T193000
DTEND;TZID=America/New_York:20181012T193000
DTSTAMP:20260403T225940
CREATED:20180630T012706Z
LAST-MODIFIED:20240219T150843Z
UID:10000119-1539372600-1539372600@ogunquitperformingarts.org
SUMMARY:Sachiko Kato
DESCRIPTION:Eloquent New York pianist Sachiko Kato performs the music of Debussy and Ravel. Tickets go on sale on this website Sept 14. \n\nTICKETS\n \n\n\n\nMs. Kato’s Program \n\n\n\nPreludes \nLa fille aux cheveux de lin\nLes collines d’Anacapri\nLa Puerta del Vino\nBruyeres\nCe qu’a vu le vent d’Ouest \nEtudes \nPour les “cinq doigt” d’apres Monsieur Czerny\nPour les Quartes\nPour les Degres chromatiques\nPour les Arpeges composes\nPour les Accords \nL’isle joyeuse\nClaude Debussy (1862-1918)\n\n\nIntermission \n\n\n\nLe Tombeau de Couperin \nPrelude\nFugue\nForlane\nRegaudon\nMenuet\nToccata \nLa Valse\nMaurice Ravel (1875-1937)\n\n\n\n\nSachiko Kato\, known for her expressive and gorgeous tone\, is a classical pianist whose interest ranges from Bach to the contemporary. She has performed throughout the United States and her native Japan\, as well as in Canada and Brazil. Her current projects include a recording of the Brahms’s late piano works released in early 2017. \nMs. Kato has previously recorded the Goldberg Variations on the Centaur Records label in 2012. Jerry Dubins of Fanfare claims “Sachiko Kato’s performance is truly special” and “… everyone who embraces Bach’s Goldberg Variations on piano\, this deserves to be heard and is urgently recommended.” Her playing has been broadcasted by New York’s public radio station WNYC on its “New Sounds” program\, as well as New York’s classical station WQXR\, KMZT (Los Angeles) and WKCR FM (Columbia University station\, New York). Sachiko’s performances have received critical acclaim: “the velvet smoothness and silken beauty … an extremely imaginative player … she plays with such a sense of effortlessness and ease” (Fanfare Jan.-Feb. 2013); “a lovely\, delicate touch … interpretive clarity … impressively crisp fingerwork and consistent energy.” (New York Concert Review). Ms. Kato was also featured in the Juilliard centenary publication\, “Dance Drama Music: 100 Years of the Juilliard School\,” as one of the 100 outstanding alumni. \nA champion of new music\, Ms. Kato has commissioned\, premiered\, and recorded contemporary works. She founded Weaving Japanese Sounds\, contemporary Japanese music concert project in 2004 in the hopes of facilitating cultural exchanges between the US and Japan by introducing Japanese new music to American audiences in an accessible manner. The concerts are presented annually with a coterie of top-tier musicians and have been garnering critical acclaim and enthusiastic followers. \nMs. Kato has won numerous competitions such as the Frinna Awerbuch International Piano Competition and the Pro-Piano Recital Series Auditions\, both held in New York. After her debut at Carnegie Weill Hall in 1995\, she has performed extensively throughout the world. She has been heard at the Lincoln Center Alice Tully Hall and Performing Arts Library\, Steinway Hall in New York\, the Los Angeles County Museum\, and the Arcady Music Festival in Maine. She has toured Canada and Brazil under the auspice of Japan Foundation\, and performed an all-Japanese composers program in Algeria. \nSachiko Kato was born in Osaka\, Japan and immigrated to Los Angles with her family at the age of 14. She graduated from California State University Northridge and then\, on scholarship\, completed her Master’s Degree at the Juilliard School. She did further studies in Boston with the famed pianist/teacher\, Russell Sherman. Ms. Kato is based in New York City. \n\nTICKETS
URL:https://ogunquitperformingarts.org/event/sachiko-kato/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Elizabeth Dunaway Burnham Piano Festival
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/06/181012_PF_Kato.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181007T150000
DTEND;TZID=America/New_York:20181007T150000
DTSTAMP:20260403T225940
CREATED:20180630T013018Z
LAST-MODIFIED:20240219T150844Z
UID:10000120-1538924400-1538924400@ogunquitperformingarts.org
SUMMARY:Student Piano Recital
DESCRIPTION:The Festival continues on Sunday afternoon\, October 7th at 3 pm with the Student Piano Recital\,  featuring the area’s best young pianists performing on OPA’s fabled Steinway.   It is here that talented local students have the opportunity to perform on a world-class piano in front of a live audience.  Admission to this performance is free. \nThe Festival honors the memory of Elizabeth Dunaway Burnham\, founder and first chairperson of Ogunquit Performing Arts.  A pianist herself\, Betty studied\, performed and taught piano for most of her life.  She also saw to it that OPA acquired its spectacular Steinway Concert Model C Grand Piano\, which still remains OPA’s greatest treasure.
URL:https://ogunquitperformingarts.org/event/student-piano-recital/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Elizabeth Dunaway Burnham Piano Festival
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/06/181007_PF_Student-Recital.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181005T193000
DTEND;TZID=America/New_York:20181005T193000
DTSTAMP:20260403T225940
CREATED:20180630T011958Z
LAST-MODIFIED:20240219T150844Z
UID:10000118-1538767800-1538767800@ogunquitperformingarts.org
SUMMARY:Victor Rosenbaum
DESCRIPTION:CONCERT CANCELLED DUE TO ILLNESS\nRenowned Boston pianist Victor Rosenbaum performs the music of Brahms and Schubert. Tickets go on sale on this website Sept 14. \n\n\nMr. Rosenbaum’s  Program \nThree Intermezzi\, Opus 117 – Johannes Brahms  1833-1897 \nFour Short Pieces\, and Four More Short Pieces – John Heiss  1938 – \nSonata in A Major\, D. 664 –  Franz Schubert 1797- 1828 \n\nAmerican pianist Victor Rosenbaum has concertized widely as soloist and chamber music performer in the United States\, Europe\, Asia\, Israel\, and Russia in such prestigious halls as Tully Hall in New York and the Hermitage in St. Petersburg\, Russia. \nHis highly praised recording of Schubert\, which Classical disCDigest described as “a powerful and poignant record of human experience\,” is on Bridge Records. The release of the last three Beethoven sonatas on the same label was named by American Record Guide critic Alan Becker as one of the top ten classical recordings of 2005 and Susan Kagan of Fanfare wrote of that disc: “Victor Rosenbaum’s rewarding interpretation can sit proudly among the best.” Two recent recordings on the Fleur de Sonlabel feature music of Schubert and Mozart. \nDescribed by the Boston Globe as “one of those artists who make up for all the drudgery the habitual concertgoer endures in the hopes of finding the real\, right thing\,” Rosenbaum has collaborated with such artists as Leonard Rose\, Paul Katz\, Arnold Steinhardt\, Robert Mann\, Joseph Silverstein\, Malcolm Lowe\, and the Brentano\, Borromeo\, and Cleveland String Quartets\, among others. Festival appearances have included Tanglewood\, the Rockport Chamber Music Festival\, Kfar Blum and Tel Hai (in Israel)\, Yellow Barn\, Kneisel Hall (Blue Hill)\, Musicorda\, Masters de Pontlevoy (France)\, the Heifetz Institute\, the International Keyboard Institute and Festival in New York\, and the International Music Seminar in Vienna. Concert appearances in recent years have brought him to Chicago\, Minneapolis\, Tokyo\, Beijing\, St. Petersburg (Russia)\, Tel Aviv\, Jerusalem\, New York and Boston\, and other cities. \nA student of Elizabeth Brock and Martin Marks in his hometown of Indianapolis\, Rosenbaum later studied with Rosina Lhevinne and Leonard Shure while earning degrees at Brandeis and Princeton Universities. Now a renowned teacher himself\, Rosenbaum presently serves on the faculty of the Mannes College of Music in New York and the New England Conservatory in Boston\, where he formerly chaired the piano and chamber music departments. He has been Visiting Professor of Piano at the Eastman School of Music\, a guest teacher at Juilliard\, and presents lectures\, workshops\, and master classes for teachers’ groups and schools both in the U. S. and abroad\, including London’s Royal Academy of Music\, Royal College of Music\, and Guildhall School\, the conservatories of St. Petersburg and Moscow\, Beijing Central Conservatory\, the Toho School in Tokyo and other institutions such as the Menuhin School\, and the Jerusalem Music Center. Rosenbaum was Director and President of the Longy School of Music from 1985-2001.
URL:https://ogunquitperformingarts.org/event/victor-rosenbaum/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Elizabeth Dunaway Burnham Piano Festival
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/06/181005_PF_Rosenbaum.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181005
DTEND;VALUE=DATE:20181013
DTSTAMP:20260403T225940
CREATED:20180630T005921Z
LAST-MODIFIED:20240219T150844Z
UID:10000117-1538697600-1539388799@ogunquitperformingarts.org
SUMMARY:12th Annual Elizabeth Dunaway Burnham Piano Festival
DESCRIPTION:This year’s Festival features the music of the master composers of Austria\, Germany and France\, as performed by two international artists\, Boston’s Victor Rosenbaum on Friday\, October 5th\, and New York’s Sachiko Kato on Friday October 12th\, both at 7:30 pm. \nThe Festival also includes an afternoon performance by Southern Maine’s finest young pianists in the Student Piano Recital\,  Sunday\, October 7th at 3:00 pm.  Admission to this performance is free. \nThe Festival honors the memory of Elizabeth Dunaway Burnham\, founder and first chairperson of Ogunquit Performing Arts.  A pianist herself\, Betty studied\, performed and taught piano for most of her life.  She also saw to it that OPA acquired its spectacular Steinway Concert Model C Grand Piano\, which still remains OPA’ greatest treasure.
URL:https://ogunquitperformingarts.org/event/12th-annual-elizabeth-dunaway-burnham-piano-festival/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Elizabeth Dunaway Burnham Piano Festival
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/06/181005_PF_GENERAL.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180908T193000
DTEND;TZID=America/New_York:20180908T193000
DTSTAMP:20260403T225940
CREATED:20180610T185233Z
LAST-MODIFIED:20240219T150844Z
UID:10000116-1536435000-1536435000@ogunquitperformingarts.org
SUMMARY:Capriccio - Andy Happel and Los Galactacos String Band
DESCRIPTION:TICKETS\n \n\n\n\nSERIES TICKETS\n \n\n\nAndy Happel and his Los Galactacos String Band will be returning in triumph to the Barn Gallery on Saturday\, September 8th at 7:30 pm\, – after a dynamic performance there one year ago left the audience  dancing in the aisles and calling for more! \nPerforming a lively repertoire of songs\, from Chile to Canada\, Los Galactacos brings together an exotic combination of voice\, guitar\, violin\, cello\, dobro\, cuatro\, upright bass\, acoustic bass\, guitarron\, drums and percussion. \nTheir program includes a variety of beautiful tunes and rousing rhythms from across the Americas\, and across the seas: Tex/Mex folk; Appalachian string music; Canadian maritimes fiddle tunes; the Classic American Songbook; ol’ time Country; and music for wherever people gather and celebrate. \n \nFounded in summer 2015 on a lark to enjoy some late-summer soirees\, the Los Galactacos musical excursion was quickly underway with multi-instrumentalist Andy Happel as navigator. A true translator and ambassador of musical ideas\, Happel has infused his music with elegant fire – ranging from Capitol Records’ Thanks to Gravity and modern classical label PARMA\, to his work with the Don Campbell Band\, and his ever-expanding teaching studio. Joining him are Drew Wyman (Thanks to Gravity\, the Cozmik Zombies)\, Todd the Rocket (The Downbeat Renaissance)\, and Pete Witham (The Cozmik Zombies\, Spookie Daly Pride). \nAlready in their adventure\, the group has entertained at the Wentworth By The Sea Hotel (Newcastle\, NH)\, Wentworth Marina\, The Wentworth (Jackson\, NH)\, two seasons residency at El Rayo in Scarborough\, Maine\, and a collection of private residences. \n \nAndy Happel is a concert violinist and fiddler who has shared the stage with symphonies\, pop stars and country music luminaries alike. As bandleader for 90s rock group Thanks to Gravity\, Andy was signed to Capitol Records and EMI Publishing and toured extensively with the likes of Guster\, Train\, Matchbox 20 and the Dave Matthews Band. A successful run with country singer Don Campbell followed\, where he opened for country legends Willie Nelson\, Randy Travis\, George Jones and Charlie Daniels. He currently performs with classical improv group Aeterna Trio\, and several other independent projects. \nRecently\, he was nominated for a NATAS Boston/New England Emmy\, and performed O’Connor’s The Fiddle Concerto as guest soloist with the Portsmouth Symphony Orchestra \nAndy is also Lead Producer with new classical music label PARMA Recordings.   He has worked with the Moravian Philharmonic in the Czech Republic\, the Metropolitan Opera Children’s Chorus and the New England String Quartet\, among others. \n\nTICKETS\n \n\n\n\nSERIES TICKETS
URL:https://ogunquitperformingarts.org/event/capriccio-andy-happel-and-los-galactacos-string-band/
LOCATION:The Barn Gallery\, 3 Hartwig Lane (off Bourne Lane at Shore Road)\, Ogunquit\, Maine\, 03907
CATEGORIES:Capriccio
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/06/180907_CAP_Happel.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180908T143000
DTEND;TZID=America/New_York:20180908T143000
DTSTAMP:20260403T225940
CREATED:20180610T184546Z
LAST-MODIFIED:20240219T150845Z
UID:10000115-1536417000-1536417000@ogunquitperformingarts.org
SUMMARY:Capriccio - Paul Sullivan and Con Fullam
DESCRIPTION:TICKETS\n \n\n\n\nSERIES TICKETS\n \n\n\nPaul Sullivan has enjoyed a richly varied and distinguished career as a composer and a pianist.  In his solo performances\, he creates a relaxed and intimate feeling with his audience through his pleasant and quirky observations about music and life. His warm and inviting personality\, coupled with his world-class musicianship\, wins over new listeners immediately and usually makes them life-long fans. \nCon Fullam is a most talented and accomplished wordsmith and songwriter\, but it’s when he himself performs his music that the listener’s experience is most touching\, whether his musical stories are wistful\, joyous\,  loving\,  blue or hopeful.  He is a powerful entertainer and guitarist. \nHearing either of them live in concert is a special occasion.   But when they join forces\, they create a musical event which is simply not to be missed.  OPA is proud and fortunate to bring them together as a part of the Capriccio Music Festival. \nAs a soloist\, with his trio\, and as a member of the Paul Winter Consort\, Paul Sullivan has played concert tours in most of the United States and Europe\, as well as the Middle East\, Central America\, and Asia. He has performed among the dunes of the Negev Desert\, in Leonard Bernstein’s living room\, and on the stages of many of the world’s finest concert halls. He has been a guest on Marian McPartland’s “Piano Jazz”\, and he has also performed with some legendary orchestras\, such as the Philadelphia Orchestra under Eugene Ormandy\, the Boston Pops under both Arthur Fiedler and Keith Lockhart\, and several regional orchestras around the US. \nSullivan has worked in some of New York’s most prestigious jazz clubs as well\, including Sweet Basil\, The Village Vanguard\, and Bradley’s. He has played with a wide variety of masters from Benny Goodman to Tommy Flanagan\, as well as Red Mitchell\, Lou Donaldson\, George Mraz\, Gerry Hemingway\, Marc Helias\, Gene Bertoncini\, Eugene Friesen\, Jamie Haddad\, Luciana Sousa\, Cafe\, Sarah Lee Guthrie\, Noel Stookey\, Don McLean\, Pheeroan AkLaff\, Eddie Daniels\, Richard Stoltzman\, Nana Vasconcelos\, Cyro Baptista\, Ivan Lins\, Glen Velez and many other luminaries. His 18 CDs have sold over 300 thousand copies and have won 3 Indie Awards. His music has been broadcast internationally\, as well as on all the major American networks\, including National Public Radio. He received a Grammy Award for his work on the Paul Winter Consort CD\, Silver Solstice. \nIn the theater world\, he has worked as a Musical Director\, pianist\, and/or conductor for many Off-Broadway and Broadway shows. He played keyboards and shared the conducting duties for the original production of the musical Nine\, which won a Tony Award for Best Musical. Some of the other shows he’s worked on include Cats\, A Chorus Line\, Rags\, and a cabaret with Lewis Black. Other theater credits include accompanying Joseph Papp and even appearing as a character on the TV soap opera One Life To Live. \nSullivan also received commissions to write two musicals\, including “The Last Ferryman” for which he wrote both the music and lyrics\, which are available on CD. \nHe has also worked extensively in the Modern Dance world\, playing piano for Merce Cunningham’s classes\, and writing music for the Rockettes at Radio City Music Hall. He has also enjoyed a long friendship with the Pilobolus Dance Theater\, for whom he has written close to 20 scores. \nA long\, lovely\, lucky career\, which shows no signs of stopping. \n—– \n“Con Fullam is one of the most diverse and talented songwriters that I have had the pleasure to publish”. Lou Ragusa\, President Infinity/MCA Music. \n“Fullam’s songs are passionate and intelligent.”  Billboard Magazine \n.Fullam has been playing and performing since he was 5 years old. It was at that age that his father died leaving him his ukelele. He was born on a farm in Sydney\, Maine population 60 or so people\, 600 or so cows and thousands of acres of fields\, and woods. He spent a lot of that time playing his ukelele and singing songs he learned from his family\, all of whom played an instrument. His brother and sister loved folk music\, bluegrass and the blues and so he learned the songs of Woody Guthrie\, Pete Seeger\, Cisco Houston\, The Weavers\,  Flatt and Scruggs\, Ralph Stanley\, The Carter Family\, Sonny Terry and Brownie McGhee\, Josh White Sr.\,  Hudie Ledbetter and Lightnin’ Hopkins to name a few. \nHis mother was a pianist whose taste ran towards Classical music and Broadway. And so he learned to love Bach\, Beethoven and Scarlatti\, The Pirates of Penzance\, My Fair Lady and Oklahoma. \nCon’s musical education continued with enrollment at The New Division\, an experimental college in Springvale\, Maine founded by a behavioral scientist from Harvard by the name of Tom Howard.  There\, he pushed himself to step up and learn new chords and progressions on the guitar as well as hone his skills at wordsmithing. It was there with a lot of support from his fellow students that he realized that playing and writing were the things that made him the happiest and that it was down that road he would travel. In the forty years that have passed since that first semester he has never looked back. \n“Over the course of my career\, I have had the honor of playing with some of the finest musicians in the business and I have been blessed to call many of them my close and cherished friends. It is those friends that I have called on to help me realize this dream….”  Con Fullam \nCon is now published by MCA Universal\, Sony/BMG\, Warner/Chappell\, Acuff Rose\, Opryland\, and Chrysalis Music.   He has had his songs recorded by major recording artists and  has produced records that have sold over a half million units. He has played with and shared stages with the likes of  Asleep At The Wheel\, Joan Armatrading\, Aztec Two Step\, Razzy Bailey\, David Bromberg\, Johnny Cash\, George Carlin\, Bob Dylan\, Richie Havens\, Emmy Lou Harris with Gram Parsons\, Waylon Jennings\, Jorma Kaukenon\, Willie Nelson\, The Nitty Gritty Dirt Band\, Sonny Terry and Brownie McGhee\, John Sebastian\, Earl Scruggs Review and Tammy Wynette\, \nCon has been critically acclaimed in many of the music industry’s most prestigious publications such as Billboard\, Music Row\, Village Voice\, Boston Phoenix\, Canadian Country News\, Cashbox Magazine\, and Nashville Music City News.  He has been nominated for an Emmy and has been recognized by The American Society Of  Composers Authors And Publishers for his contributions to the world of the performing arts. \n\nTICKETS\n \n\n\n\nSERIES TICKETS
URL:https://ogunquitperformingarts.org/event/capriccio-paul-sullivan-and-con-fullam/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Capriccio
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/06/180908_CAP_Sullivan.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180908T100000
DTEND;TZID=America/New_York:20180908T113000
DTSTAMP:20260403T225940
CREATED:20180610T183745Z
LAST-MODIFIED:20240219T150845Z
UID:10000114-1536400800-1536406200@ogunquitperformingarts.org
SUMMARY:Capriccio - Singer/fiddler Andy Happel makes a special appearance at Capriccio Festival of Kites
DESCRIPTION:Fiddler/singer Andy Happel will provide high-flying music on Ogunquit Beach for the Capriccio Festival of Kites on Saturday\, September 8th \, from 10 to 11:30 am.   Andy plans to bring along some musician friends to join in the joyous fun\, playing selections from his repertoire of exotic tunes and lilting rhythms. \nHis appearance will serve as a preview of his full-length concert with  Los Galactacos String Band the same night at 7:30 pm at the Barn Gallery.  The Band will perform a variety of beautiful songs and rousing rhythms from across the Americas\, and across the seas: Tex/Mex folk; Appalachian string music; Canadian maritimes fiddle tunes; the Classic American Songbook; ol’ time Country; and music for wherever people gather and celebrate. \nIn the meantime\, join Andy at the Capriccio Festival of Kites\, where songs and kites will fill the air!
URL:https://ogunquitperformingarts.org/event/capriccio-singer-fiddler-andy-happel-makes-a-special-appearance-at-capriccio-festival-of-kites/
LOCATION:Ogunquit Beach\, Beach Street\, Ogunquit\, ME\, 03907
CATEGORIES:Capriccio
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/06/180908_CAP_Kite.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180907T193000
DTEND;TZID=America/New_York:20180907T193000
DTSTAMP:20260403T225940
CREATED:20180610T181847Z
LAST-MODIFIED:20240219T150845Z
UID:10000113-1536348600-1536348600@ogunquitperformingarts.org
SUMMARY:Capriccio - Matt DeChamplain Jazz Trio
DESCRIPTION:TICKETS\n \n\n\n\nSERIES TICKETS\n \n\n\nMatt DeChamplain returns to Ogunquit to open the 28th Annual Capriccio Music Festival on Friday\, September 7\, 2018\, at 7:30 pm in the Dunaway Center.  He previously performed here as pianist with the Jason Anick Trio\, and again in a solo jazz piano concert.  This time\, he brings his own trio with him\, including guitarist Christopher Morrison and bassist Matthew Dwonszyk. \n“Matt DeChamplain plays with amazing dexterity and superb taste while covering the history of jazz piano from ragtime and stride to modern.”  Hartford Jazz Society \nMatt’s love of classic jazz inspires him to pursue a thorough musicianship that fuses traditional elements with modern jazz concepts.  His performance is rooted in that of the early jazz masters. \nHe is a favorite performer in the jazz clubs of Hartford and Southington\, Connecticut\,  with occasional gigs in Boston and New York.   Hear Matt play at www.mattdechamplain.com \n \nMatt DeChamplain is from Hartford\, Connecticut. He obtained his bachelors degree from the Jackie McLean Institute of Jazz at the Hartt School in 2010 and graduated with his masters from the University of Toledo in Ohio in 2012. Matt has performed at the Berks Jazz Festival\, New York’s JVC Jazz Festival\, Jazz at Lincoln Center\, Django By The Sea Gypsy Jazz Festival and jazz clubs such as the Regatta Bar\, The Side Door\, Dizzy’s Club Coca Cola\, Smalls and Yoshi’s. \nIn 2008\, Matt was selected for the Betty Carter Jazz Ahead Program under the instruction of jazz luminaries Dr. Billy Taylor\, Nathan Davis and Curtis Fuller culminating in three performances filmed live from the Kennedy Center in Washington D.C. That same year he was part of a group led by bassist Nat Reeves that played in Europe. In 2010\, Matt participated as a semifinalist in the Martial Solal Jazz Piano Competition in Paris\, France. \nAt the age of 16\, Matt had had the privilege of playing three duets with Dave Brubeck in two concerts. Since then\, Matt has shared the stage with Marion Cowings\, Jimmy Cobb\, Shawnn Monteiro\, Nat Reeves\, Steve Davis\, Dezron Douglas\, Javon Jackson\, Arti Dixon\, Jon Hendricks\, Paul Keller\, Avery Sharpe and Greg Abate. In concert settings\, he has lead or been a part of groups that opened for Hank Jones\, Dave Brubeck\, Wynton Marsalis\, Michael Wolff\, Renee Rosnes\, The Duke Ellington Orchestra and Clifton Anderson. As a sideman\, Matt has appeared on albums by guitarist Norman Johnson\, jazz violinist Jason Anick\, and recorded several songs with vocal legend Jon Hendricks in 2013. Matt recorded a self-produced solo piano album titled “Stride-Bop” that sought to fuse the Harlem stride tradition with bebop and hardbop language. In 2015\, he collaborated with his wife vocalist Atla DeChamplain on their first recording together titled “Pause.” The independent album features a guest appearance by Hendricks. \nCurrently Matt holds a faculty position at The Hartt School of Music (University of Hartford) and has taught at The Greater Hartford Academy of the Arts\, The Artist’s Collective (founded by Jackie McLean)\, the Litchfield Jazz Camp and New Hampshire and Maine’s Jazz All-State programs. While maintaining an active performance and teaching schedule\, Matt continues to arrange and compose. \nChristopher Morrison – Guitar \nThe son of jazz guitarist\, Allen Morrison\, Christopher Morrison began performing early on with New Haven\, CT jazz organists Richard McCrae\, Bobby Buster and Eddie Buster.  The training he received while working with these men made a lasting impression on Chris.  To this day\, his playing and teaching style reflect the simple and practical approach that was used in his education. \nChris has recorded and or performed with Adam Nussbaum\, Lew Soloff\, John Patitucci\, Joe Beck\, Akiko Tsuruga\, Chip Jackson\, Joe Magnarelli\, Bennie Wallace\, Harvie S\, Delfeayo Marsalis\, Richie Cole\, John Stowell\, Gary Versace\, and Ralph Lalama. Recently he has appeared with the legendary guitarist\, Joe Diorio\, as his guitar duo partner.  Chris’s latest recording\, with saxophonist Andrew Beals entitled “Maybe Someday”\, is on the Centaur record label.  Dr. Ken Ciuffreda of Just Jazz Guitar magazine wrote\, “Chris produces one of the most beautiful sounds I have ever heard coaxed out of a jazz guitar – great phrasing\, perfect musicality\, warmth and expression –  all played effortlessly with seemingly unlimited technique.” \nChris was fortunate to study with jazz guitarists Sal Salvador\, Don Neary and Joe Diorio\, arranger Bill Finegan and pianists Charlie Banacos and Mike Longo. He holds a Masters of Music degree in Jazz Performance from the Conservatory of Music at SUNY Purchase. His undergraduate studies\, Bachelor of Music in Jazz Studies\, were completed at The University of Bridgeport and Western Connecticut State University. \nChris is employed by Western Connecticut State University\, Fairfield University and BackCountry Jazz where he teaches jazz guitar and small group jazz. He has earned several awards for his teaching including a Distinguished Adjunct Appreciation Award  and a Centennial Award for Excellence from Western Connecticut State University. \nMatthew Dwonszyk – Bass \nBorn in Hartford CT\, Dwonszyk started playing the electric bass at the age eleven. In high school\, he picked up the upright bass while attending the Greater Hartford Academy of Performing Arts and soon started attending the Artist Collective after school program founded by the legendary Jazz Saxophonist/Composer\, Jackie McLean. \nDwonszyk continued his collegiate studies at the Jackie McLean Institute of Jazz studying with world-renowned bassist Nat Reeves. He graduate and continued his studies at Suny Purchase where he received a Masters in Music in 2015. Dwonszyk currently lives in Brooklyn and is an active bassist in New York. \nHe has performed at the JVC Jazz Festival in NYC\, the Baikal Jazz Festival (Yakutsk\, Siberia)\, the NYC Winter Jazz Festival\, Litchfield Jazz Festival\, Hartford Jazz Festival\, Jazz & Colors Festival (Metropolitan Museum of Art)\, The Kennedy Center\, Smalls Jazz Club\, Dizzy’s Coca Cola Club\, The Blue Note\, Smoke Jazz Club and the Fat Cat. Dwonszyk has performed with Harold Mabern\, Larry Willis\, David Hazeltine\, Anthony Wonsey\, Rick Germanson\, Pete Malinverni\, Steve Wilson\, Abraham Burton\, Javon Jackson\, Gary Smulyan\, Bennie Wallace\, Wayne Escoffery\, Mike Diruboo\, Myron Walden\, John Farnsworth\, Joe Farnsworth\, Winard Harper\, Joe Strasser\, Eddie Henderson\, Jumaane Smith\, Wallace Roney\, Terell Stafford\, Steve Davis\, Steve Turre\, Freddie Hendrix and Duane Eubanks. \n\nTICKETS\n \n\n\n\nSERIES TICKETS
URL:https://ogunquitperformingarts.org/event/capriccio-matt-dechamplain-jazz-trio/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Capriccio
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/06/180907_CAP_DeChamplain.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180907
DTEND;VALUE=DATE:20180911
DTSTAMP:20260403T225940
CREATED:20180610T165716Z
LAST-MODIFIED:20240219T150846Z
UID:10000112-1536278400-1536623999@ogunquitperformingarts.org
SUMMARY:Capriccio
DESCRIPTION:CAPRICCIO IS COMING!\nOgunquit Performing Arts Celebrates\nIts 28th Annual Music Festival\nMatt DeChamplain Jazz Trio – Fri Sept 7 @ 7:30 pm S. Judson Dunaway Center\, 23 School Street\, Ogunquit \nSinger/fiddler Andy Happel performs at Capriccio Kite Festival – Sat Sept 8\, 10 to 11:30 am\, Ogunquit Beach\nPianist Paul Sullivan and guitarist Con Fullam in concert together! Sat Sept 8\, 2:30 pm\, S. Judson Dunaway Center\, 23 School Street\, Ogunquit\nAndy Happel & Los Galactacos String Band\, Sat Sept 8\, 7:30 pm Barn Gallery\, Bourne Lane at Shore Road\, Ogunquit \n\nSeptember will mark the 28th year of OPA’s sponsorship of the annual Capriccio Festival\, which began as a music festival\, and expanded over the years to include the visual and literary arts. This year\, the festival will once again focus on the musical arts with several concerts\, and provision of high-flying music for the Capriccio Festival of Kites at Ogunquit Beach. \nCapriccio is defined as “a joyous musical composition\, or work of art\, in free form\, usually brilliant in style.” The word is therefore an especially appropriate title for the musical focus of this year’s Festival! \nFestival Series Tickets at $45 for three concerts go on sale on this website on August 15th. Included are concerts by the Matt DeChamplain Jazz Trio\, composer/pianist Paul Sullivan\, songwriter/guitarist Con Fullam\, and Andy Happel with the Los Galactacos String Band.
URL:https://ogunquitperformingarts.org/event/capriccio-2/
LOCATION:Dunaway Center & Barn Gallery\, School St. & Shore Rd.\, Ogunquit\, ME\, 04090
CATEGORIES:Capriccio
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/06/170908_CAP_GENERAL-2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180615T193000
DTEND;TZID=America/New_York:20180615T193000
DTSTAMP:20260403T225940
CREATED:20180319T152813Z
LAST-MODIFIED:20240219T150846Z
UID:10000111-1529091000-1529091000@ogunquitperformingarts.org
SUMMARY:DaPonte String Quartet
DESCRIPTION:TICKETS\n \n\n\nThe DaPonte String Quartet returns to Ogunquit Performing Arts after too long an absence.  Their performances for OPA go back to almost the beginning of the Chamber Music Festival in the mid-90’s.  A return engagement is long overdue\, and OPA together with the Barn Gallery are so happy to join together to welcome back the Quartet. \nOgunquit Performing Arts will celebrate its 40th Anniversary with a Champagne Reception following this performance. \nThe DaPonte Program will include: \nFranz Josef Haydn(1732-1809) \nString Quartet in C Major\, Op 20\, No 2 \nBéla Bartók(1881-1945) \nString Quartet No. 3\, Sz. 85 \nWolfgang Amadeus Mozart(1756-1791) \nMozart Clarinet Quintet in A Major K. 581 \nGuest artist: Thomas Hill\, clarinet \n————————————————————————————— \n \nNot long after forming in Philadelphia twenty-one years ago\, the DaPonte String Quartet surprised the musical world by moving from a cosmopolitan urban area to rural Maine. The DSQ had been — and continues to be — sought after to perform and teach all over the U.S. and around the world. They have appeared in France\, Scotland\, Canada\, and more than twenty American states. Their performances have been broadcast over nation-wide radio and television programs in both the United States and Canada. They have received awards from the National Endowment for the Arts\, the Philadelphia Musical Fund Society\, the Music Teachers National Association\, Chamber Music America\, and have participated in several of the nation’s most prestigious concert series to rave reviews. Musicians and critics alike wondered\, why would the DSQ move to Maine\, where\, as the New York Times noted\, they create an experience “like watching the Celtics play in the local gym.” \nBut the members of the DaPonte String Quartet were proud to call Maine home\, and their relationship with mid-coast Maine remains a deeply rooted one. \nFerdinand “Dino” Liva (Violin)\nA violinist and conductor\, Dino comes from a musically prominent family in northeastern Pennsylvania. He began studying the violin at age seven with his father\, a noted conductor and teacher. Dino continued his education at the Peabody Conservatory with Berl Senofsky. After graduating with a Bachelor of Music degree\, he studied with Christine Dethier in New York and then attended Temple University\, working with Luis Biava\, where he graduated with a Master’s degree and a Professional Studies Certificate. He then spent four years as Assistant Professor of violin and chamber music at Wilkes University and as conductor of the University Orchestra. \nIn 1991\, Dino became one of the founding members of the DaPonte String Quartet and he moved full-time to Maine in 1996. Chamber music has remained his passion since those first rehearsals at the home of cellist Myles Jordan. The DSQ’s performances and workshops have been praised by members of the press and the quartet has worked with many important contemporary musicians\, including Marc Johnson\, Anton Kuerti\, Pamela Mia-Paul\, Rami Solomonov\, Tom Hill\, Mark Simons\, Jon Klibonoff\, Maria Bachmann\, Randall Hodgkinson\, and Marcus Thompson. Dino also continued to conduct and teach when he moved to Maine\, enriching the lives of young musicians throughout the Midcoast. \nLydia Forbes (Violin)\nLydia’s career has been guided by a singular intention — to delve as deeply as possible into the magic of great chamber music literature\, old and new. \nLydia has concertized throughout Europe and the U.K. with Ensemble L’Archibudelli\, Zephyr Kwartet\, Het Schoenberg Ensemble\, Sinfonietta Amsterdam\, Het Blazers Ensemble\, Osiris Piano Trio\, I Fiamminghi\, and Ensemble Explorations. During this time\, she recorded with some of the world’s most prominent labels; Sony Classical\, Harmonia Mundi\, CNM\, and for Vienna Modern Masters as soloist with the Czech Radio Philharmonic. She has also performed for festivals in Europe\, the U.K.\, Australia\, New Zealand\, and the U.S. Lydia has also served as concertmaster for Het Orkest van het Oosten in the Netherlands. \nMyles Jordan (Cello)\nMyles Jordan worked as a child actor for CBC Television and the National Film Board of Canada before taking up the cello. Inspired by the North American premiere of the second Shostakovich cello concerto and a Casals master class\, Myles asked for and received from his father a bright orange Hofner cello as a birthday present. He went on to train at the Banff School of Fine Arts in Alberta\, the Britten-Pears School of Advanced Musical Studies in England\, and at Schloss Weikersheim in Germany. In 1981\, he won a Floyd S. Chalmers Foundation Award\, which enabled him to study at the Juilliard School\, and by 1983 he had earned two degrees there. From New York he moved to Philadelphia\, where he served as associate principal cellist of the Concerto Soloists Chamber Orchestra\, completed a Doctor of Musical Arts\, and founded the DaPonte String Quartet. \nKirsten Monke (Viola)\nA native of Brunswick\, Maine\, Kirsten Monke received both her Masters and Bachelors degrees at Indiana University\, where she worked with Kim Kashkashian and Georges Janzer (of the Vegh Quartet and Grumiaux Trio). As a graduate fellow at UC Santa Barbara\, where she studied with Heiichiro Ohyama\, she was a founding member of the Anacapa String Quartet\, winners of the Fischoff competition as well as recipients of various honors from Chamber Music America. Following ten years of touring and concertizing with the ASQ\, Kirsten remained in Santa Barbara\, serving as Principal Violist of both the Santa Barbara Symphony and the Santa Barbara Chamber Orchestra. She also taught at the University of California\, Santa Barbara\, Westmont College\, and at chamber music workshops across the country. Kirsten can be heard in recordings with the Anacapa Quartet and the Santa Barbara Symphony\, as a soloist on a jazz CD featuring the music of Earl Stewart\, and as a member of the Gove County String Quartet\, a group that performs all original music.  Kirsten joined the DaPonte String Quartet in 2008. \n\nwww.dapontestringquartet.org \n\nTICKETS
URL:https://ogunquitperformingarts.org/event/daponte-string-quartet/
LOCATION:The Barn Gallery\, 3 Hartwig Lane (off Bourne Lane at Shore Road)\, Ogunquit\, Maine\, 03907
CATEGORIES:Ogunquit Chamber Music Festival
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/03/180615_CMF_DaPonte.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180608T193000
DTEND;TZID=America/New_York:20180608T193000
DTSTAMP:20260403T225940
CREATED:20180319T145028Z
LAST-MODIFIED:20240219T150846Z
UID:10000020-1528486200-1528486200@ogunquitperformingarts.org
SUMMARY:Boston Chamber Music
DESCRIPTION:TICKETS\n \n\n\nBoston Chamber Music returns for its 19th year of opening the Festival on Friday June 8\, 2018 at 7:30 pm in the Dunaway Center.\nClarinetist and Artistic Director Thomas Hill will be reducing his performance schedule next year\, so he will be making his final appearances in Ogunquit with this Festival\, a sad day for Ogunquit Performing Arts.  For the June 8th concert\, he once again brings together the finest ensemble especially selected for this concert\,  which will feature clarinet\, ‘cello and piano. \nBoston Chamber Music’s program will include: \n\n\n\nFantasy Trip Op. 26 for clarinet\, ‘cello and piano\nRobert Muczynski     1920-2010\n\n\nSonata for ‘cello and piano\nSergei Rachmaninoff     1873-1943\n\n\nSonatina clarinet and piano\nBohuslav Martinů       1890-1959\n\n\nTrio in a minor Op.114 for clarinet\, ‘cello and piano\nJohannes Brahms    1833-1897\n\n\n\n  \nMr. Hill will also appear as Guest Artist with the DaPonte String Quartet on Friday\, June 15\, 2018\, at 7:30 pm at the Barn Gallery\, Bourne Lane at Shore Road\, the second concert of the Festival. \nOgunquit Performing Arts will celebrate its 40th Anniversary with a Champagne Reception following these performances. \nThomas Hill\, Clarinetist\n \n“Hill’s performance was what we’ve come to expect from him –- beautifully controlled\, technically strong\, imaginative and musical.” —– The Boston Globe \n…”among the best clarinetists anywhere.” —— The Boston Musical Intelligencer \nPrincipal Clarinetist of The Boston Philharmonic from 1992 to 2015\, Mr. Hill has also been clarinetist of the acclaimed Boston Chamber Music Society since 1983. He has appeared on innumerable concert and festival series\, and has been widely engaged as soloist and ensemble performer under a variety of auspices since the beginning his career in New York and Los Angeles. \nMr. Hill is also served as principal clarinetist of The New Haven Symphony\, The Long Beach Symphony\, The Handel and Haydn Society Orchestra of Boston\, The Mainly Mozart Festival Orchestra\, The San Diego Symphony\, and The Cascade Festival Orchestra in Oregon. He has appeared with both The Boston Symphony and The Boston Pops. \nHe holds both a Bachelor’s and Master’s Degree with Honors from The New England Conservatory. He also attended The Cleveland Institute of Music where he was a member of the class of the venerable Robert Marcellus. \nRandall Hodgkinson\, Pianist\n \nRandall Hodgkinson has achieved recognition as a winner of the International American Music Competition for pianists sponsored by the Rockefeller Foundation.  He has appeared frequently as soloist and chamber music artist in festivals throughout the United States\, and as a featured soloist with major orchestras including those of Philadelphia\, Atlanta\, Buffalo\, the American Symphony\, the Orchestra of Illinois\, and abroad in Italy and Iceland.  His solo debut with the Boston Symphony Orchestra was presented both in Boston and at Carnegie Hall. \nMr. Hodgkinson studied at The Curtis Institute and the New England Conservatory.  He has been an artist member of the Boston Chamber Music Society since 1983.  While a member of Boston Musica Viva\, he performed throughout the U.S. and Europe\, and his recordings on several labels have brought him notable acclaim. \nHe also performs four-hand and two-piano literature in duo recitals with his wife\, Leslie Amper.  He is a member of the piano faculty of the New England Conservatory and Wellesley College. \n\n  \nBruce Coppock\, ‘Cellist\n \nBruce Coppock\, an acclaimed ‘cellist and teacher in the Boston Area\, has also had a distinguished career in arts management.  He  served twice as president & managing director of the Saint Paul Chamber Orchestra\, a position in which he served both as the artistic and the executive leader of the organization.  He also served a consultant to several orchestras\, and served as managing director of the Cleveland Orchestra’s Miami Residency\,  He retired from the SPCO at the end of 2015. \nPrior to Saint Paul\, Coppock served as the founding director of the League of American Orchestra’s Orchestra Leadership Academy\, as deputy director of Carnegie Hall\, and as executive director of the Saint Louis Symphony from 1992-1997. \nCoppock has also been active as a Board member\, at the Harlem Boys Choir\, the Interlochen Center for the Arts\, and as a member of the Board of Overseers at the Curtis Institute of Music. \n\nTICKETS
URL:https://ogunquitperformingarts.org/event/boston-chamber-music-3/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Ogunquit Chamber Music Festival
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/03/180608_CMF_Boston_Chamber.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180608
DTEND;VALUE=DATE:20180616
DTSTAMP:20260403T225940
CREATED:20180205T182305Z
LAST-MODIFIED:20240219T150846Z
UID:10000019-1528416000-1529107199@ogunquitperformingarts.org
SUMMARY:Chamber Music Festival
DESCRIPTION:24th Annual Chamber Music Festival\nFriday\, June 8:  Ogunquit’s favorite Boston Chamber Music returns to the Dunaway Center for its 19th year of opening the Festival.  Clarinetist and Artistic Director Thomas Hill celebrates his final season with OPA\, once again bringing together the finest ensembles especially selected for this concert\,  which this year will feature clarinet\, ‘cello and piano. \nFriday\, June 15:  The acclaimed DaPonte String Quartet makes a special appearance at Ogunquit Performing Arts\, after many years’ absence.  The internationally acclaimed Quartet is now in its 24th season and its members are still proud to call Maine home.  Thomas Hill is Guest Artist for this concert\, which will take place at the Barn Gallery\, Bourne Lane at Shore Road in Ogunquit. \nMore detailed program information will follow soon on this website! \nTICKETS:  $18 in advance; $20 at the door; $5 student;  $30 series. \nTickets will go onsale beginning May 18\, 2018\,  at the Ogunquit Camera Shop\, the Dunaway Center\, the Ogunquit Playhouse Downtown Box Office\, the Ogunquit Welcome Center\, and online through our secure ticket system.
URL:https://ogunquitperformingarts.org/event/chamber-music-festival-2/
LOCATION:Dunaway Center & Barn Gallery\, School St. & Shore Rd.\, Ogunquit\, ME\, 04090
CATEGORIES:Live Performance
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/02/180608_CMF_GENERAL.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180518T193000
DTEND;TZID=America/New_York:20180518T193000
DTSTAMP:20260403T225940
CREATED:20180122T195528Z
LAST-MODIFIED:20240219T150847Z
UID:10000018-1526671800-1526671800@ogunquitperformingarts.org
SUMMARY:Lissa Schneckenburger with Corey DiMario\, Matt & Shannon Heaton
DESCRIPTION:TICKETS\n \n  \n  \nThe traditional music of New England can be as warm and comforting as a winter fire or as potent and exhilarating as a summer thunderstorm. Fiddler and singer Lissa Schneckenburger is a master of both moods: a winsome\, sweet-voiced singer who brings new life to old ballads and a skillful\, dynamic fiddler who captures the driving rhythm and joy of dance tunes old and new. \n“Schneckenburger’s [fiddle] playing is…quietly virtuosic…her voice is pure and clear\, full of simple emotion.”   All Music Guide \n“World-class fiddler… far from just offering one dance tune after another\, simple settings allow the true beauty of the music to shine through.” \nSing Out \n“…lovely singer and literate\, catchy songwriter..” — Scott Alarik\, Boston Globe \n“To me\, folk music is anything that creates a feeling of community\,” Lissa said. “Music that people want to sing along to\, dance to\, fall in love to… music that brings people together. These songs are part of all of us …”\nWhether playing interpretations of ancient or contemporary music\, Lissa brings to the stage enthusiasm\, energy\, and the bright future of New England’s musical traditions. \nLissa has performed on tour at the Silkeborg Dance Weekend in Denmark\, the Shetland Folk Festival in Scotland\, Celtic Connections in Glasgow\,  and the Festival international des arts traditionels in Quebec. \nShe also has performed in the following festivals:  Celtic Classics Festival\, Bethlehem\, PA;  Festival of American Fiddle Tunes\, WA;  Newport Irish Festival\, Newport\, RI;  Champlain Valley Folk Festival\, VT; and New Bedford Summer Festival\, MA. \n \nDouble-bassist Corey DiMario is one of the most sought after accompanists in the acoustic music scene. He has performed at major festivals and concert venues across North America\, Europe and Australia. \nA diverse musician\, Mr. DiMario adds rock solid\, low-end accompaniment and driving rhythm to any musical situation. A founding member of the string band sensation Crooked Still\, DiMario brings a diverse musical palette and energetic approach to an ensemble.  Most recently\, Mr. DiMario was in the”house band” for Bela Fleck’s New York Banjo Summit featuring banjoists Tony Trischka\, Bill Keith\, Pete Wernick\, Eric Weissberg\, Richie Stearns\, Noam Pikelny and of course Bela Fleck. \nCorey DiMario received his undergraduate degree in Jazz Performance from the New England Conservatory in 2001 and is a free lance musician in Brattleboro\, VT. He previously studied at the Eastman School of Music in Rochester\, New York. He has studied privately with John Lockwood\, Cecil McBee\, Paul Bley\, John Abercrombie and James Van Demark. \nWith engaging stage presence and masterfully-crafted music\, Boston-based Matt & Shannon Heaton offer well-travelled Irish music from the heart. Steeped in sessions in County Clare and brewed in the acoustic music scenes of Chicago & Boston\, their flute/guitar/bouzouki instrumentals and sweet husband-and-wife harmony singing draw deeply from the Irish tradition. \n \nThe Heatons also gently incorporate the Thai music Shannon learned in school as a kid and rootsy Americana sounds that surrounded them during their three years in bluegrass-haven Boulder\, Colorado. \nSince their move to Boston in 2001\, the Heatons have become an integral part of Boston’s vibrant trad music scene. (Shannon co-founded the Boston Celtic Music Fest in 2003.) \n‘Their playing is masterful and inventive\, their arrangements city-smart and spacious.’  Boston Globe \nShannon was named 2016 Massachusetts Cultural Council Traditional Artist Fellow. The Irish American News dubbed her Female Musician of the Year (2009) and Live Ireland nominated her Female Musician of the Year 2010 and 2011. She’s been compared to Alison Krauss and Altan’s Mairéad Ní Mhaonaigh for her combination of vocal grace and instrumental prowess on Irish flute\, whistles and accordion. She is also an acclaimed arranger and composer\, and has published two instructional Irish music books. \nIn addition to his acclaimed work as an Irish accompanist on guitar and bouzouki\, Matt has also received multiple Massachussetts Cultural Council Grants for his work with kids (he’s got two CDs of original rockabilly-tinged music for children and discerning parents). He fronts surf-rock band Electric Heaters and also holds a master’s degree in classical guitar. For his creative chording and driving grooves\, Matt has been called “a combination of Bill Frisell and Arty McGlynn.” \nMatt and Shannon are poised\, passionate American performers with Irish roots and universal appeal. They are comfortable onstage and have a warm connection with their audiences. They move listeners with their love of traditional music (and each other)\, and their sense of adventure and fun in exploring new directions and possibilities. \nTICKETS:  $18 in advance; $20 at the door; $5 Student.  Available through this website beginning April 23rd. \n\nTICKETS
URL:https://ogunquitperformingarts.org/event/lissa-schneckenburger-with-corey-dimario-matt-shannon-heaton/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Live Performance
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/01/180315180_LP_Scheckenburger-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180506T140000
DTEND;TZID=America/New_York:20180506T140000
DTSTAMP:20260403T225940
CREATED:20180118T004051Z
LAST-MODIFIED:20240219T150847Z
UID:10000017-1525615200-1525615200@ogunquitperformingarts.org
SUMMARY:Classic Film Series: South Pacific
DESCRIPTION:South Pacific (1958) \nThe much-anticipated film version of Rodgers and Hammerstein’s South Pacific made its debut on March 19\, 1958.  The film stars Mitzi Gaynor\, Rossano Brazzi\, John Kerr\, France Nuyen\, Juanita Hall\, and Ray Walston\, and was produced by Buddy Adler and directed by Joshua Logan for Twentieth Century Fox. \n \nAll the wonderful songs from the original stage musical are captured in this film\, including “Some Enchanted Evening”\, “Younger Than Springtime”\, and “I’m in Love with a Wonderful Guy”. \nThe original musical\, also directed by Joshua Logan\, was adapted from James A. Michener’s Pulitzer Prize-winning novel Tales of the South Pacific\, an account of some of the author’s experiences toward the end of World War II.  The musical opened at the Majestic Theater on April 7\, 1949\, and ran for 1\,925 performances\, until it closed on January 16\, 1954. \nWanting to protect their work\, Rodgers and Hammerstein had long since decided to produce the film versions of their great shows themselves\, starting with Oklahoma! in 1955. Since each film received their personal attention\, by the time they started working on South Pacific in1957\, they couldn’t use the show’s original leads. \nAlthough many thought Mary Martin too old for the role by then\, they would have used her if Ezio Pinza hadn’t died. With his passing\, they didn’t think there was an actor strong enough to hold his own as her love interest. Ultimately\, the only member of the original Broadway cast to make it to the film was Juanita Hall\, who had won a Tony for her performance as Bloody Mary.  The film’s only other actor who had done South Pacific on stage was Ray Walston\, who had played the comic character Luther Billis in the touring company and in London. \nWith Logan signed to direct\, the search was on for the leading lady.  Many were considered\, including Doris Day\, Audrey Hepburn and Elizabeth Taylor.  The role of Nellie Forbush finally went to Mitzi Gaynor\, a contract player who had earlier starred in a series of musicals for Fox.  Although inevitable tough comparisons to Mary Martin were made\, Gaynor turned out to be an inspired choice and turned in a solid\, professional and engaging performance. \n \nShe was also the only one of the four leads to do her own singing. Other voices were found and dubbed for almost everyone else in the cast\, even including second lead John Kerr and Juanita Hall. \nThe biggest vocal disappointment came from suave\, Italian leading man Rossano Brazzi\, cast as Emile de Becque\, who had insisted that he could sing the role himself.  But when Rodgers and Hammerstein heard him\, they sought out and found the gifted Metropolitan Opera bass Giorgio Tozzi to record the songs.  When Brazzi heard the playbacks of Tozzi’s beautiful performances\, he was none too pleased and initially refused to lip sync to them.  His rebellion subsided however when it was made clear to him that it was lip sync or leave. \n(It is notable that the casting of Ezio Pinza in the stage version was also in doubt.  When casting Mary Martin\, they first they had to convince her that she could hold her own vocally opposite Pinza. Eventually\, they created a score in which the romantic leads never sang together\, as remains true in the film.) \nThe filming of South Pacific was a huge logistical undertaking\, involving the cooperation of the US Defense Department and hundreds of extras.  Some shooting was done in the Fiji Islands\,  but the main location was the idyllic Hawaiian island of Kauai\, where four shiploads of technical equipment and a crew of nearly two hundred joined the cast.
URL:https://ogunquitperformingarts.org/event/classic-film-series-south-pacific/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Classic Film Series
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2018/01/180506_CFS_SouthPacific.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180408T140000
DTEND;TZID=America/New_York:20180408T140000
DTSTAMP:20260403T225940
CREATED:20171106T152535Z
LAST-MODIFIED:20240219T150847Z
UID:10000015-1523196000-1523196000@ogunquitperformingarts.org
SUMMARY:Classic Film Series:  A Place in the Sun
DESCRIPTION:Theodore Dreiser’s 1925 novel\, An American Tragedy\, was based on the real-life murder of a poor\, pregnant factory girl by her social-climbing fiance. It had been filmed by Josef Von Sternberg in 1931\, starring Sylvia Sidney\, Phillips Holmes and Frances Dee.   George Stevens’ 1951 version\, A Place in the Sun\, focused more on the developing romance between the man and the rich girl\, and changed the poor girl’s death to an accident\, but maintained the psychological motivations and class distinctions of the novel. \nA Place in the Sun\,  directed by George Stevens from a screenplay by Harry Brown and Michael Wilson\, stars Montgomery Clift\, Elizabeth Taylor\, and Shelley Winters; its supporting actors included Anne Revere and Raymond Burr. \nStevens cast Elizabeth Taylor\, not  yet 18 and incredibly beautiful\, as Angela\, the most demanding role of her career thus far.   Stevens asked much of her\, shooting take after take\, but Taylor lived up to the challenge. \nTaylor was also initially intimidated by the intense scenes she had to play with Montgomery Clift\, “…because Monty was the New York stage actor and I felt very much the inadequate teenage Hollywood sort of puppet that had just worn pretty clothes and hadn’t really acted except with horses and dogs.” Clift put her at ease\, and the two began a life-long friendship.\nShelley Winters originally broke into Hollywood films as a blonde bombshell type\, but quickly tired of the role’s limitations. She had previously achieved leading roles in The Great Gatsby  and Winchester 73\, and was determined to play against type in A Place in the Sun.  She claimed to have washed off her makeup and worn dowdy clothes to audition for the role of Alice Tripp\, the factory girl in the film.  Her performance brought Winters her first acclaim\, earning her a nomination for the Academy Award for Best Actress.\n\nMontgomery Clift was already one of the most important  young actors in films\, and had been nominated for an Academy Award for his first film\, The Search (1948). Intense and neurotic\, Clift was ideal for the part of George\, and worked extremely hard on his character.  In preparation for his character’s scenes in jail\, Clift spent a night in a real state prison. He determined not to play the walk to the electric chair with high drama\, but instead walked to his death with a naturalistic\, grim facial expression. \nHis performance was one of his best\, and earned him an Academy Award nomination.  (His main acting rival\, Marlon Brando\, was so moved by Clift’s performance that he voted for Clift to win the Academy Award for Best Actor.) \nThe film itself was a critical and commercial success\, winning six Academy Awards\,  (including Best Director for George Stevens)\,  and the first-ever Golden Globe Award for Best Motion Picture – Drama.
URL:https://ogunquitperformingarts.org/event/classic-film-series-a-place-in-the-sun/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Classic Film Series
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2017/11/180408_CFS_PlaceInSun.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180310T183000
DTEND;TZID=America/New_York:20180310T183000
DTSTAMP:20260403T225940
CREATED:20171106T154128Z
LAST-MODIFIED:20240219T150848Z
UID:10000016-1520706600-1520706600@ogunquitperformingarts.org
SUMMARY:Stillson School of Irish Dance
DESCRIPTION:Returning to Ogunquit for their annual visit\, the acclaimed Stillson School of Irish Dance brings a troupe of more than a dozen dancers garbed in brilliant\, sparkling costumes.   Always a local favorite\, the dancers will perform an array of jigs and reels which have won them prizes at regional and international competitions.\n\nAfter their performance\, the Stillson dancers will invite children and dancers of all ages  to join them in trying out a few steps.   A reception with refreshments will follow.  Join us for this festive St. Patrick’s celebration! \nTickets are $5 per person at the door.  General seating\,   no advance sales. \nThe only certified school in the state of Maine\, the Stillson School of Irish Dance has been accredited by An Coimisiun\, Dublin\, Ireland\, since 1991.  Dancers have placed in the North American Irish Dance Championships\, as well as competed in the All Ireland\, The European \, Great Britain  and The World Irish Dance Championships. \nThe School has an active show team which has performed throughout New England as well as on the Elipse lawn of the White House. They have been featured dancers accompanying such renowned Celtic performers as SOLAS\, CHERISH THE LADIES\, TRINITY IRISH DANCE COMPANY\, LIZ CARROLL\, BILLY MCCOMISKEY and MICK MOLONEY\, NATALIE MACMASTER\, and EILEEN IVERS.\n\nIn existence for twenty years\, the school is the only certified school of Irish dancing in the state of Maine. The school’s dancers compete all over New England and place in the NEW ENGLAND REGIONAL IRISH DANCING CHAMPIONSHIPS annually. \nThe Stillson School of Irish Dance is under the direction of Carlene Moran Stillson ADCRG / TCRG. She is accredited by An Coimisiun in Dublin\, Ireland and a member of IDTANA. (Irish Dancing Teacher’s Association of North America) and The New England Region teaching organizations.
URL:https://ogunquitperformingarts.org/event/stillson-school-of-irish-dance-2/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Live Performance
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2017/11/180310_LP_Stillson.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180304T140000
DTEND;TZID=America/New_York:20180304T140000
DTSTAMP:20260403T225940
CREATED:20171106T144756Z
LAST-MODIFIED:20240219T150848Z
UID:10000014-1520172000-1520172000@ogunquitperformingarts.org
SUMMARY:Classic Film Series:  Friendly Persuasion
DESCRIPTION:Friendly Persuasion (1956) focuses on the Birdwells\, a peaceful family of Quakers who are thrust into the Civil War when a band of Confederates known as Morgan’s Raiders threatens their town. The eldest son\, Josh\, (Anthony Perkins) hears a plea for young men to help fight off the marauders and begins to question the anti-war\, anti-violence values of his religion. His mother Eliza (Dorothy  McGuire) is against him going to battle\, but his father\, Jess\, (Gary Cooper)\, a man of moral courage and understanding\, recognizes his son’s need to work out his conflict and side with a just cause. When Josh is wounded in battle\, his father goes into the war zone to save him. What he encounters there tests his faith and a way of life that will never be quite the same. \nProducer-director William Wyler had author Jessamyn West’s novel Friendly Persuasion in mind for eight years before he brought the project to Allied Artists. They gave him a $1.5 million budget for his first color film\, and shooting was to take place in the story’s original southern Indiana locale. By the time it was completed\, on a San Fernando Valley estate and at the old Republic studios\, the cost had swelled to $3 million.  A critical and financial success\, the film brought in $8 million in box-office receipts by 1960 alone. \nFriendly Persuasion was the first film to cast Gary Cooper as a parent with grown children and gave him one of his best late career roles. The internal conflicts as Jess Birdwell struggles with his son’s decision to forsake his Quaker faith to fight in the Civil War and his own urge to avenge a friend’s death in battle provided a perfect vehicle for his simple\, understated acting style. \nWyler had always thought Gary Cooper the perfect actor for the part.  Although the actor was reluctant to undertake his first father role\, he finally gave in after West took him to a Society of Friends prayer meeting. The stillness made him think he could capture the character’s spiritual nature. \nCooper complained that his fans would be disappointed if his character didn’t take up arms in the Civil War. He argued that they would expect him to do something. West suggested\, “You will furnish them with the refreshing picture of a strong man refraining.” \nWyler’s dream casting for Cooper’s wife was Katharine Hepburn\, but she wasn’t available.  Many others were considered\, and Wyler actually tested Maureen O’Hara and Eleanor Parker before casting Dorothy McGuire. \nWhile scouting talent in New York\, Wyler saw several young actors for the role of Cooper’s conflicted son\, including Anthony Perkins\, who had only done one previous film.  Wyler was so impressed with Perkins’s insights into the character and his reading that he cast him without bothering to make a screen test. \nPerkins had not yet learned how to drive at the time Friendly Persuasion was shot. Each morning he hitchhiked to the Allied Artists studios\, where limousines were waiting to drive the cast to the shooting location. He often told drivers he was the stand-in for a hot young actor named Anthony Perkins\, for whom they should watch in upcoming films. \nThe film was nominated for six Academy Awards\, including Best Picture\, Best Director\, Best Screenplay\, Best Supporting Actor (Anthony Perkins)\, Best Sound\, and Best Song (“Friendly Persuasion – Thee I Love” by Dimitri Tiomkin.) \nThe excellent supporting cast includes Marjorie Main\, Richard Eyer\, Robert Middleton\, Phyllis Love\, Mark Richman\, and Joel Fluellen.
URL:https://ogunquitperformingarts.org/event/classic-film-series-friendly-persuasion/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Classic Film Series
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2017/11/180304_CFS_FriendlyPersuasion.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180204T140000
DTEND;TZID=America/New_York:20180204T140000
DTSTAMP:20260403T225940
CREATED:20170930T094538Z
LAST-MODIFIED:20240219T150848Z
UID:10000013-1517752800-1517752800@ogunquitperformingarts.org
SUMMARY:Classic Film:  Dinner at Eight
DESCRIPTION:Biting and poignant at the same time\, Dinner at Eight is one of the great screen comedies of manners. Though it’s often hilarious\, there is always more going on beneath the surface in the interactions of these brilliantly realized characters. It’s an elegant mixture of both high and low comedy that delves into the problems of the wealthy when they are faced with the loss of money\, power and status. \nStatus conscious Millicent Jordan (Billie Burke) is throwing a dinner party for an elite group of guests including self-made tycoon Dan Packard (Wallace Beery) and his brassy wife Kitty (Jean Harlow)\, her husband’s ex-lover Carlotta Vance (Marie Dressler)\, and a desperate fading movie star (John Barrymore) who is secretly carrying on an affair with their young daughter (Madge Evans)\, who just happens to be engaged to another man. Meanwhile Millicent’s husband (Lionel Barrymore) is suffering serious health problems while his business teeters on the brink of collapse. At this unforgettable dinner party\, anything can happen. \nDinner at Eight was the first film that both producer David O. Selznick and director George Cukor made for MGM. Selznick especially had something to prove. On the heels of MGM’s great success under Irving Thalberg\, Grand Hotel (1932)\, Selznick wanted to show that he was capable of competing with Thalberg and creating a blockbuster of his own. The roaring success of the film established Selznick as a power to be reckoned with at his new studio.\n\nDinner at Eight has one of the finest ensemble casts of any motion picture in history. Some of MGM’s biggest stars including Lionel Barrymore\, John Barrymore\, Marie Dressler\, Wallace Beery\, Jean Harlow\, Madge Evans and Billie Burke do some of their finest work here and remind contemporary audiences of why these actors were great stars. \nDinner at Eight was not the glamorous Jean Harlow’s first film\, but it was the movie that proved not only did she have what it took to be a major movie star\, but also that she could act and hold her own in the midst of established professionals like John Barrymore. Her comic turn as Wallace Beery’s vulgar social climbing wife nearly steals the picture and established her as the star she deserved to be.  \nActress Billie Burke’s famous onscreen persona as a flighty flibbertigibbet can be traced back to this film. Dinner at Eight represented Burke’s first role as a mature woman\, and she was so effective as the high-strung hostess Millicent Jordan that that type of role has become synonymous with her name ever since. \nMarie Dressler\, a huge\, if unlikely\, star in her day\, was cast strongly against type as an upper crust former great beauty and woman of considerable means. Despite the risky casting\, Dressler’s talent is so great that she pulls it off with great aplomb. Her performance is one of the best things in Dinner at Eight\, and serves as a reminder to the remarkable talents of this beloved star. \nby Andrea Passafiume
URL:https://ogunquitperformingarts.org/event/classic-film-dinner-at-eight/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Classic Film Series
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2017/09/180204_CFS_Dinner.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180107T140000
DTEND;TZID=America/New_York:20180107T140000
DTSTAMP:20260403T225940
CREATED:20170930T092740Z
LAST-MODIFIED:20240219T150849Z
UID:10000012-1515333600-1515333600@ogunquitperformingarts.org
SUMMARY:Classic Film:  Peter Grimes
DESCRIPTION:Peter Grimes is the work that established Benjamin Britten as a major musical force when it was first performed in 1945.  It is now universally acknowledged as one of the twentieth century’s finest operas.  In this performance\, world-great tenor Jon Vickers – internationally acclaimed for his portrayal of Grimes – heads a cast that gives vivid life to this powerful masterpiece. The atmospheric stage production co-stars soprano Heather Harper and baritone Norman Bailey\, with massive orchestra and chorus conducted by Colin Davis.  It was filmed in London’s Royal Opera House\, Covent Garden. \n“A subject very close to my heart—the struggle of the individual against the masses. The more vicious the society\, the more vicious the individual.”  Benjamin Britten \nPeter Grimes was based on the narrative poem\, “Peter Grimes” in George Crabbe’s book The Borough\, with libretto adapted by Montagu Slater. The tragic story revolves around the tormented title character\, a fisherman who finds himself shunned by the rest of the fishing village\, called the Borough.   At once the protagonist and the anti-hero\, Grimes is gruff and unpopular\, but the character is crafted with a certain degree of ambiguity. \nHis former apprentice died at sea\, and although Grimes was cleared of any wrongdoing\, the village still believes that he was responsible and are ever suspicious of him.  A tragic series of further events\, fanning the flames of local gossip\, convince the Borough that Grimes is a murderer.  They condemn and pursue him; he descends into madness as the mob approaches. \n“Peter Grimes is a big opera with a very tight focus. There are huge choral scenes and a large cast of supporting players but the work holds fast to Grimes himself. Grimes is the ultimate outsider\, one whom Britten associated with strongly. He’s far from a hero\, not even close\, but he’s no pantomime villain either. “Now the Great Bear”\, his startling Act II aria\, reveals the wounded man beneath the menacing facade. This ambiguity runs throughout the piece\, Grimes’s nastiness set against the overwhelming mob-like behaviour of the townsfolk. \n“Another major element is that of nature\, the sea ever present in the drama and in Britten’s music – and no more so than in the incredible orchestral interludes (music that is frequently heard in concert halls as the “4 Sea Interludes”). The town is dependent on the sea\, fishing is how they make their living\, but it is a dangerous bargain: they live by the sea and frequently die by it too\, as we see with Grimes’s successive apprentices. \n  \n“Peter Grimes is a tragedy from start to finish but it’s also a masterpiece of musical theatre. The sheer force of the music lifting the narrative to realms rarely reached in 20th Century opera.”     The Opera 101 \n 
URL:https://ogunquitperformingarts.org/event/classic-film-peter-grimes/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Classic Film Series
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2017/09/180107_CFS_Grimes.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171210T140000
DTEND;TZID=America/New_York:20171210T140000
DTSTAMP:20260403T225940
CREATED:20170918T160002Z
LAST-MODIFIED:20240219T150849Z
UID:10000011-1512914400-1512914400@ogunquitperformingarts.org
SUMMARY:Classic Film: The Shop Around The Corner
DESCRIPTION:The Shop Around the Corner is a 1940 American romantic comedy film produced and directed by Ernst Lubitsch\, and starring Margaret Sullavan\, James Stewart\, and Frank Morgan.  The screenplay was written by Samson Raphaelson\, based on the 1937 Hungarian play Parfumerie by Miklos Laszlo. \nSet at Christmastime\, the film is about two employees at a small shop in Budapest who can barely stand each other\, not realizing they’re falling in love as anonymous correspondents through their letters. \n“By 1940\, Lubitsch was renowned throughout Hollywood for his popular movies that combined romance and wit.  Lubitsch had made his name with sophisticated fare like Design for Living (1933) and Ninotchka (1939)\, but his dream project was adapting Miklos Laszlo’s 1937 play Parfumerie for the big screen.  Lubitsch had bought the rights to this simple story … shortly after its debut\, but he sat on the property for a few years until he got the right studio (MGM with its luxe production values) and the right stars (Lubitsch never wanted anyone other than Stewart for the male lead\, but several actresses\, including Janet Gaynor\, were considered before Lubitsch settled on Sullavan.) \n“The Shop Around the Corner tells the story of the assorted employees of a notions shop in Budapest.  The main characters are head clerk Alfred Kralik (Stewart) and new employee Klara Novak (Sullavan)\, but the film is really an ensemble piece that focuses on each employee in turn\, including the curmudgeonly boss Matuschek (Frank Morgan)\, a kindly family man Pirovitch (Felix Bressart)\, and a handsome but vain salesman Vadas (Joseph Schildkraut). \n“Lubitsch\, who helped write the screenplay with Samson Raphaelson\, based The Shop Around the Corner on his childhood memories.  Lubitsch’s father was a tailor\, and he grew up helping out in the family’s shop.  ‘I have known just such a little shop in Budapest\,’ he said at the film’s Radio City Music Hall debut.  ‘The feeling between the boss and those who work for him is pretty much the same the world over.’ \n“It is those universal feelings that make The Shop Around the Corner a great work of art.  The relationship between Klara and Alfred is well-drawn – they get off on the wrong foot and things go downhill from there – and Sullavan and Stewart have great chemistry\, but the film’s central theme expands to fit everyone at the shop.”  Amanda Garrett
URL:https://ogunquitperformingarts.org/event/classic-film-shop-around-the-corner/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Classic Film Series
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2017/04/171210_CFS_Shop.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171203T150000
DTEND;TZID=America/New_York:20171203T150000
DTSTAMP:20260403T225940
CREATED:20170613T010915Z
LAST-MODIFIED:20240219T150849Z
UID:10000110-1512313200-1512313200@ogunquitperformingarts.org
SUMMARY:Portland Ballet: Excerpts from "The Victorian Nutcracker"
DESCRIPTION:TICKETS are $5 per person at the door. No advance sales. \nAs a holiday treat\, dancers from the Portland Ballet will perform excerpts from their production of Tchaikovsky’s beloved ballet.\nThis representation of about a dozen dancers\, will appear in full costume in selections from the Ballet’s complete production of “The Victorian Nutcracker”. \nCHILDREN ARE WELCOME\, and may be invited from the audience to chat with the dancers and try out a few dance steps. Join us for this Christmas classic\, live on stage at the Dunaway Center! \nA reception with refreshments will follow the performance. \nFollowing the presentations of his ballets “Swan Lake” and “Sleeping Beauty”\, Tchaikovsky was commissioned by the Direction of the Imperial Opera to compose a double-bill program featuring both an opera and a ballet. Alexandre Dumas Père’s adaptation of the story by E.T.A. Hoffmann was set to music by Tchaikovsky and originally choreographed by Marius Petipa. \nIn the spring of 1891\, while on his way from Moscow to New York – where he was to conduct at the grand opening of Carnegie Hall – Tchaikovsky became acquainted with a new instrument that enchanted him with its “divinely beautiful tone.” Inventd by a noted French instrument maker\, Victor Mustel\, it had been patented as the “celesta” after its heavenly timbre. Tchaikovsky arranged to have one sent to Russia in secret\, for he was afraid other composers “will get hold of it and use its unusual effects before me. I expect this new insrument will produce a colossal sensation.” \nThe first concert presentation of “The Nutcracker” in 1892 was a great success\, although the ballet itself took considerably longer to take hold. Over the years\, however\, the Sugar Plum Fairy\, and the music of the celesta to which she danced\, has ensured “The Nutcracker” as the favorite Christmas presentation of ballet companies around the world. \nSteeped in tradition\, Portland Ballet’s annual production of “The Victorian Nutcracker” recreates the interiors of Victoria Mansion and interprets Tchaikovsky’s score through the stories of Portland’s nineteenth-century families. This audience favorite is unique among Nutcracker performances across the nation and continues to be a mainstay of Portland’s winter arts season.\nFMI: www.portlandballet.org
URL:https://ogunquitperformingarts.org/event/portland-ballet-excerpts-from-the-victorian-nutcracker/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Live Performance
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2017/06/171203_Nutcracker.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171105T140000
DTEND;TZID=America/New_York:20171105T140000
DTSTAMP:20260403T225940
CREATED:20170520T114712Z
LAST-MODIFIED:20240219T150849Z
UID:10000109-1509890400-1509890400@ogunquitperformingarts.org
SUMMARY:Classic Film:  The Jazz Singer
DESCRIPTION:The Jazz Singer is a 1980 American drama film about the son of a Jewish cantor\, who must defy the traditions of his religious father in order to pursue his dream of being a popular singer. It is a remake of the 1927 film of the same name\, and stars Neil Diamond\, Laurence Olivier\, and Lucie Arnaz\, with direction shared by Richard Fleischer and Sidney J. Furie. \nThe film was nominated for three golden globes\, and the soundtrack was enormously successful\, eventually reaching multi-platinum status and becoming Diamond’s most successful album to date. It resulted in three hit songs\, “America\,” “Love on the Rocks\,” and “Hello Again.” \nYussel Rabinovitch is a young Jewish cantor performing at the synagogue of his imperious father. Yussel is married to his childhood friend\, Rivka\, and has settled down to a life of religious devotion to the teaching of his faith. \nBut on the side\, he writes songs for a black singing group\, and when a member of the quartet takes ill\, Yussel covers for him at one of their gigs by wearing blackface. The nightclub engagement is such a success but one of the patrons at the nightclub notices that Yussel hands are white and calls him out. A fight ensues and the band is arrested. Yussel’s father comes to the jail to bail them out but finds out that there is not a Yussel Rabinovitch there but a Jess Robin. Later his father questions him about that and Yussel tells him it is just a professional stage name he uses when performing. His father reminds him that his singing voice was to be used for God’s purposes not his own\, and Yussel’s struggle to determine his true place in the world begins.
URL:https://ogunquitperformingarts.org/event/classic-film-the-jazz-singer/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Classic Film Series
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2017/05/1701105_CFS_JazzSinger.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171013T200000
DTEND;TZID=America/New_York:20171013T200000
DTSTAMP:20260403T225940
CREATED:20170506T114950Z
LAST-MODIFIED:20240219T150850Z
UID:10000108-1507924800-1507924800@ogunquitperformingarts.org
SUMMARY:Piano Festival Concert: Masanobu Ikemiya
DESCRIPTION:Masanobu Ikemiya\, pianist\nOctober 13th\, 2017\, 8pm\n\n\n\nSir Edward Elgar / arr. Ikemiya \n \nSalute d’Amore (Love’s Greeting\, 1889) \n\n\n\n\nFranz Joseph Haydn(1732-1809) \n \nSonata No. 62 in E flat Major\, Hob. XVI:52 \nAllegro\nAdagio\nFinale: presto\n \n\n\n\nBela Bartok\n(1881-1945)\nSuite Op. 14 (1916) \n1. Allegretto\n2. Scherzo\n3. Allegro molto\n4. Sostenuto \n\n\n\n– intermission – \n\n\n\n Brahms\nIntermezzo in B Minor\, Op. 119\, No. 1\nIntermezzo in E Minor Op. 119\, No. 2\nIntermezzo in C Major Op. 119\, No. 3\nRhapsody in E-flat Major\, Op. 119\, No. 4 \n\n\n\nAaron Copland\n(1900-1990)\nFrom ballet suite “Rodeo” (1942)\nRanch House Party\nCorral Nocturn\n“Hoe-Down”\n\n\n\n\n  \nMasanobu Ikemiya was born in China to Japanese parents\, grew up in Kyoto and Kansas\, and was educated at Oberlin College Conservatory and Indiana University\, and has received world-wide attention for his many concerts throughout Japan\, Mexico\, Argentina\, Taiwan\, Cambodia\, Philippines\, Bulgaria\, El Salvador\, the former Soviet Union\, Portugal\, Brazil\, Guam\, Hawaii\, India\, Korea\, Canada\, and the United States.\nIn 1972\, he came to Maine to join the Zen Buddhist Monastery in Surry where he was a practicing monk for 10 years.\nIn 1980\, he founded the Arcady Music Festival\, of which he was the artistic director for 24 years. Many of you may have had the opportunity to attend some of his performances\, or have seen or heard him on Public Television or Public Radio. \nMr. Ikemiya developed an interest in American ragtime music while volunteering at a homeless shelter started by Mother Teresa in Harlem. He has made 5 ragtime CD’s and was nominated for a Grammy Award for the album\, “Ragtime Classics” in 1994. He certainly has given “new life” to this American Art Form. Since 1995\, he has toured annually in Japan with members of the New York Philharmonic and with the New York Ragtime Orchestra of which he is the founder-leader-pianist. He also appeared with them at the 50th Anniversary Gala Celebration at the United Nations and received an award from the UN for promoting world peace through music. \nMr. Ikemiya has appeared in solo recitals at New York’s Lincoln Center and the Smithsonian Institution in Washington D.C.\, and other venues. \nWith the invitation from Peace & Justice Center of Maine\, Mr. Ikemiya has honored the anniversaries of Hiroshima by giving concerts in memory of the bomb victims and to promote peace in our world. \nIn recognition of this peacemaking quality of his work\, he has been the recipient of numerous honors and awards. The Philharmonic Society of Kaugan\, Russia\, presented Mr. Ikemiya with an Honorary Certificate for strengthening the friendship between Siberian and American people through music. \nIn addition\, Mr. Ikemiya received an Official Recognition Award from the Maine State Senate for his “contribution to the cultural life of the state.” \nHe has stated that he and his wife Tomoko are presently trying to simplify their lives. They are enjoying a self-sustaining life style with organic farming at their permaculture homestead with a passive solar house on Mt. Desert Island\, Maine. Mr. Ikemiya’s teacher was the late Frank Glazer\, who he considers to be the most life changing influence on his piano playing. \n\nTICKETS
URL:https://ogunquitperformingarts.org/event/piano-festival-concert-masanobu-ikemiya/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Elizabeth Dunaway Burnham Piano Festival
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2017/05/171006_PF_Ikemiya.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171008T150000
DTEND;TZID=America/New_York:20171008T150000
DTSTAMP:20260403T225940
CREATED:20170506T113734Z
LAST-MODIFIED:20240219T150850Z
UID:10000107-1507474800-1507474800@ogunquitperformingarts.org
SUMMARY:Piano Festival: Student Piano Recital
DESCRIPTION:A recital showcasing the best young pianists in southern Maine\, the piano stars of the future\, performing on OPA’s glorious Steinway.
URL:https://ogunquitperformingarts.org/event/piano-festival-student-piano-recital/
LOCATION:S. Judson Dunaway Center\, 23 School Street\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Elizabeth Dunaway Burnham Piano Festival
ATTACH;FMTTYPE=image/png:https://ogunquitperformingarts.org/wp-content/uploads/2017/05/171008_PF_Student-Recital-1.png
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END:VCALENDAR