SGN August 15, 2014 - Section 2

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Seattle Gay News

ARTS & ENTERTAINMENT Issue 33, Volume 42, August 15, 2014

Kevin Mazur / WireImage

diehard fans when it was released in late 2013, followed by weird antics that somehow weren’t as charming LADY GAGA’S ARTRAVE: as those we’d come to expect from THE ARTPOP BALL the meat-dress wearing heroine of KEY ARENA days gone by (neon vomit perforAugust 8 mance art at SXSW, anyone?). Then there was the cancellation of Gaga’s It’s been a tough year and a half for May 28 concert at Key Arena due to Lady Gaga. Her album Artpop was a severe case of bronchitis just hours a disappointment to all but the most before show time. by Jessica Price SGN A&E Writer

But fans of Lady Gaga weren’t disappointed by the spectacle that is “ArtRave: The Artpop Ball” when it descended on Key Arena Friday night. The diminutive but larger-than-life singer gave it all she’s got and has clearly bounced back from her first major career misstep, as well as the hip surgery that caused her to cancel all remaining dates of

the acclaimed “Born This Way Ball” in early 2013. The “Artpop Ball” attempted to close that gap and reconnect where she left off, while trumpeting new material and Gaga’s current pop-as-performance-art philosophy. The Key Arena show consisted mostly of material from Artpop’s better moments (“ARTPOP” and “G.U.Y.” kicked things off), with a heavy sprinkling of older Gaga classics. She looked strong and healthy – few can stomp in milehigh stilettos the way that Stefani Germanotta can – and her voice sounded as full as ever. Gaga knows how to make an entrance: the translucent stage and sprawling catwalks filled with smoke and a fleet of backup dancers while Gaga materialized in shimmering gold wings, a blue mirror ball attached to her bodice. “Donatella” ended the first segment, with the star reappearing for “Venus” in her highest bouffant wig and seashell bikini. Giant inflatable flowers popped up through the catwalks as backup dancers dashed around in pastel sea-monkey-esque costumes and headpieces. Gaga unleashed full voice for “MANiCURE,” proving that though she’s famous for fashion-centric antics, she’s severely

underrated as a vocalist. At several points throughout the evening Gaga called out critics that accuse her of lip-synching, joking even as she played piano that it really wasn’t her (“There’s a man playing this backstage for me right now,” she deadpanned). The next mini-set included a Fame Monster suite of songs. “Just Dance,” “Poker Face,” and “Telephone” ushered in another costume change to wild cheering from the audience. Gaga the scruffy club kid singing about unrequited (slightly psychotic) love while dreaming of being famous feels more relatable than Gaga singing about actually being famous. Therefore, this portion of the set was the most fun. An interlude of “Partynauseous” followed; not one of her best, but amidst the thundering bass Gaga exited and reappeared in a bouncy, cartoonish octopus tentacle dress for “Paparazzi” and “Do What U Want.” Taking a seat at her crystal-encased piano, Gaga took a moment to point out her father, Joe Germanotta, in the pit and asked the crowd to join her in singing happy birthday to him. She dedicated “Dope” to him and moved on to a heartfelt, slowedsee GAGA page 4

Rozarii Lynch

Courtesy of Theatre 22

Ben Abbot in Questions of the Heart

by Doug Hamilton SGN Contributing Writer QUESTIONS OF THE HEART: GAY MORMONS AND THE SEARCH FOR IDENTITY TYEE YACHT CLUB August 18 & 19 Questions of the Heart: Gay Mormons and the Search for Identity will be playing in Seattle on August 18 and 19 at the Tyee Yacht Club. (You may want to avail yourself the optional post-show discussion.) The one-person show featuring actor/writer Ben Abbot, revisits a particularly turbulent moment in recent history, the marriage equality battle in California in 2008 during the Proposition 8 campaign.

Ben interviewed Gay and Lesbian Mormons living in California at that time, and fashioned the transcripts into what eventually became an award-winning play currently touring the United States. Working with Director Mark Kamie, Ben Abbott reworked the original piece to include not only the portrayals of those he had interviewed, but Ben speaking for himself as well. The play comes to Seattle via Theatre22 Company Manager, Chris Shea, who saw one of its original productions at the Cincinnati Fringe Festival. Chris arranged for me to interview Ben Abbot by phone on Wednesday, August 13:

Speight Jenkins (l) and Issachah Savage

by Rod Parke SGN A&E Writer

To give you an idea of how excellent all the contestants in this year’s International Wagner Competition were, let me say that the weakest, in my opinion, was a tenor about whom I wrote nothing less than a rave review when he sang Fidelio at Seattle Opera in 2012. I remember that performance well: nuanced and beautiful and also passionately acted. see Questions page 6 I cannot explain why Ric Furman

seemed underpowered and unfeeling this time around. (Was he ill?) Every one of the nine singers was very well-schooled vocally, with good-to-excellent vocal technique, musicianship and attractive voices. Where they differed was in their ability to project feeling and in the size of their voices. Soprano Tamara Mancini, for instance, sang Isolde’s Narrative and Curse impressively with great tops, but you couldn’t hear any of her lower notes. Handsome bass Roman Ialcic was tonally

outstanding as Wotan and Hagen, except that he lacked expression. Helena Dix’s “Liebestod” was lovely, but her Sieglinde lacked impact. Kevin Ray had all the notes for both his Siegmund arias, but lacked vocal beauty and stage presence. Almost all of these weaknesses may disappear as their careers develop. Big voices, especially, grow with maturity. (Contestants were limited to ages 25 to 40.) see Savage page 6


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