AND HIS TOYS WERE PAINTED IN CHINA

posted by James Reel

    Viennese forensic scientist Christian Reiter, after analyzing strands of Beethoven’s hair, has concluded that the composer died prematurely because he was inadvertently poisoned by his physician, Andreas Wawruch. Cause of death: lead poisoning:

    A dramatic spike in the concentrations follows each of the doctor's five treatments between Dec. 5, 1826 and Feb. 27, 1827, according to Reiter.
    He theorizes that Wawruch, treating Beethoven for pneumonia that December, administered a medicine containing lead, as many medicines did at the time. Within days, Beethoven's stomach became terribly bloated, leading Wawruch to puncture his patient's abdomen four times in the next two months. Gallons of fluid drained out, some of it spilling into the bedding; Beethoven complained about the bugs and the odor.
    Reiter's suspicion is that the sticky poultices applied to the puncture wounds contained soapy lead salts, as they often did early in the 19th century; the salts would have been absorbed into the bloodstream, spiking lead levels.
    He further suspects that Wawruch did not understand Beethoven's underlying health problems, spelled out in the autopsy: a breakdown of the digestive system and extensive damage to the kidneys and liver, which was "like leather."
    Beethoven, a big drinker at a time when lead was commonly added to wines to increase sweetness, probably suffered from cirrhosis. A lead-laced medicine would have sent his liver "over the brink" and to collapse, Reiter said this week.

    You’ll find the entire article here.

LATINO PLAYWRIGHTS NEWS

posted by James Reel

    This information comes straight from Arizona Theatre Company:

    Arizona Theatre Company announces the selection of Fantasmaville by Raul Garza as the winner of the 2007 National Latino Playwriting Award. Garza was awarded $1,000. Guillermo Reyes’ Allende by Pinochet and Caridad Svich’s Lucinda Caval  were lauded as finalists for the award.
    Fantasmaville humorously examines the love/hate relationship Latino-Americans have with the ghosts of past people and places. When a world-weary Latina, Celeste, and her Anglo husband, Martin, desire to experience a sense of community, they return home to the urban neighborhood where they both grew up.  They resist the surge of gentrification.  Colorful local characters, including an advice-spinning “Mexican Spirit Guide” who takes on the form of a human-sized raccoon, complicate the couple's return.  While facing the threat of a yuppie-centric Dog Park encroaching on her neighborhood, Celeste discovers the secret of her heritage, her purpose, and her longing for a sense of home.
    Raul Garza is a Texas-based writer whose screenplay Digging Up Roots was featured at Teatro Humanidad’s Play Festival. His work has been performed by the Latino Comedy Project at SketchFests in Chicago, San Francisco, Seattle and Vancouver. A veteran of the advertising industry, Raul has created national commercials for clients including McDonald’s, Reebok and Miller Lite, and is co-founder of TKO Advertising in Austin, TX. Fantasmaville is Garza’s first full-length play.  
    “Fantasmaville is a hilarious play about the cost of urban blight on the Latino soul,” said Arizona Theatre Company’s Playwright-in-Residence Elaine Romero, “The judges were won over by Raul Garza's fresh comedic voice.  One gets the sense that Garza intimately knows the characters he writes.  Garza writes with a fluent Chicano tongue, dancing effortlessly between English and Spanish.  With a strong dose of irony, Garza captures the plight of urban Chicanos caught between their treasured cultural past and their assimilated present.” 
    Guillermo Reyes and Caridad Svich, both past winners of the National Latino Playwriting Award, were name finalists for their 2007 play submissions. Mr. Reyes’ play Allende By Pinochet is a historical drama in which dictator Augusto Pinochet writes his own memoirs revealing how he overthrew the Socialist president of Chile, Salvador Allende, but history refuses to accept his version and talks back. Ms. Svich’s play Lucinda Caval is a drama of suspense and identity detailing a woman’s search for her missing brother while a blind architect dreams of an imagined past reconstructed from censored shards of books. 
    Guillermo Reyes is a Chilean-born U.S. citizen, and author of off-Broadway plays such as Men On The Verge of a His-Panic Breakdown and Mother Lolita, and was recently featured in Voices at the River at Arkansas Repertory Theatre. Mr. Reyes is the head of the playwriting program at Arizona State University.
    Caridad Svich is the author of over forty plays and fifteen translations. Her work has been seen at venues across the US and abroad, including Royal Court Theatre, Cincinnati Playhouse, The Women's Project, Salvage Vanguard and 7 Stages. She is alumna playwright of New Dramatists, founder of theatre alliance NoPassport, and contributing editor of TheatreForum. Her website is www.caridadsvich.com
    Arizona Theatre Company's National Latino Playwriting Award annually recognizes an outstanding work by a Latino playwright written on any subject.  Arizona Theatre Company solicits submissions from across the U.S., its territories, and Mexico.  Full-length and one-act plays (minimum length, 50 pages) written in English, English and Spanish, or solely in Spanish are accepted. Spanish language and bilingual scripts must be accompanied by an English translation. The submission deadline for the 2008  National Latino Playwriting Award is December 30, 2008.

LESSONS, ANYONE?

posted by James Reel

    My latest contribution to the Tucson Weekly begins like this:

    The Uzbekistan music-education system has established an outpost in Oro Valley.
    This weekend, the Oro Valley Music and Dance Academy will celebrate its grand opening with an instrument petting zoo, dance and music demonstrations, balloon art and the customary ribbon-cutting and speechifying.
    It's a branch of the Music and Dance Academy, which was established in Tucson 12 years ago by Nina Tishkevich. She moved with her family to Tucson in the early 1990s, leaving behind the anti-Semitism and political instability of their native Tashkent, Uzbekistan. There, Tishkevich had directed the music department at the Tashkent Music Pedagogy Center, overseeing 3,000 teachers and 14,500 students in 32 music schools.
    Between its two locations, the Music and Dance Academy employs 35 faculty members; at the end of the last academic year, about 475 students were on its rolls. It's not as grand as the music-education empire Tishkevich oversaw in Tashkent, but still impressive considering that she got her local start, after a stint teaching at a Montessori school, by renting a single studio at the Tucson Jewish Community Center.
    Impressive, and necessary. Schools like this, and private teachers, are increasingly important in the Tucson area. From the 1950s into the early 1970s, Tucson schools enjoyed a golden age of music education, but since then, tighter budgets and changing priorities have taken a toll on school-arts programs. More than ever, students need private arts academies and individual teachers to supplement or personalize what they get in school, or even to replace school programs that have vanished over the years.

    You’ll find the rest here.

OFF BROADWAY

posted by James Reel

    This terse e-mail just arrived from the PR guy at Broadway in Tucson:   

    As of August 20, 2007, Mark Rasdorf is no longer with Broadway in Tucson.
   We are excited to announce that our new General Manager is Lendre Kearns, formerly of the La Jolla Playhouse in Southern California.

    That's it, aside from an amiable opening and closing sentence. Looks mighty precipitous, and should be interesting to check out.

CUBBY-HOLES

posted by James Reel

    Via On an Overgrown Path, here’s an interesting remark by former BBC Proms director and BBC Radio 3 controller John Drummond: “There's no such thing as ‘the music audience.’ They like the organ, or they like chamber music, or they like symphony concerts, or they like opera, or the nineteenth century, or new music. But they don't like each other. There is a mass of different audiences. So any (radio) schedule you put together is going to displease more people than it pleases.”
    There’s a certain amount of truth here, although Drummond is of course grossly oversimplifying. I see some of the same people in the audience for the Tucson Symphony as I do for the Arizona Friends of Chamber Music, Arizona Opera, the Arizona Early Music Society, and so on. These are musical omnivores. But I’ve also observed a significant compartmentalization of audiences, which can be most easily judged by how many people drop away—it’s much less crowded at early-music or new music organ concerts than at the symphony.
    Opera, I think, has the highest percentage of attendees who shun other kinds of music performance. I’m not just referring to the “opera queens” who, between swoons, can dissect every performance Maria Callas gave from her debut to her career’s wretched end. I also mean those people who don’t really know much about music, but who attend opera for the spectacle—the singing, the acting (such as it is), the scenery, the costumes, the live orchestra in the pit, the whole impressive package. Some of them, I think, have absolutely no curiosity about music; otherwise, they’d show up at non-operatic concerts from time to time. Perhaps it’s rather like people who watch a lot of television, but would never think of going to see Shakespeare or Ibsen or even Tony Kushner in an actual theater.

ROTTEN TOMATOES

posted by James Reel

    A friend alerts me that Connie Tuttle has besmirched my culinary reputation in her latest contribution to the Tucson Weekly:

    James Reel inspired this column. I recently ran into the Weekly arts editor at Trader Joe's. We exchanged the usual social chatter and then went on our separate shopping ways until I spotted him reach for a can (gasp!) of marinara sauce and place it in his cart.
    People ... I know it's summer, and the heat is not conducive to cooking, but making a sauce from scratch takes approximately three minutes more than opening a can (not counting cooking time).

    You can find the entire column here, but first allow me to defend myself. First, I bought the marinara (organic, by the way, and in a jar, not in a can) under orders from my wife, who likes to keep the stuff on hand for use when we’re short of time or ingredients. (Note Connie's caveat: scratch takes only thee minutes longer than opening a can, "not including cooking time"!) Me, I generally use fresh tomatoes in my sauces. And by the way, what, exactly, was Connie doing in that aisle, which holds only canned goods? Why, buying canned tomatoes, it turns out. Read the first recipe she offers, and there they are: canned tomatoes—in the summer, for crying out loud! If Connie were serious, she’d be using her own home-grown tomatoes, or at least driving down to Willcox to buy some fresh off the vine. Oh, the hypocrisy!