While listening to Kelley Hunt perform - the singer/songwriter's joyously smoky, soulful blues vocals a perfect match for her funky and fiery piano skills - it's easy to imagine that the Kansas-based musician never lacked for confidence. As she admits during our recent phone interview, though, she actually did. She just didn't tell anyone.
"When I was about 17, I was in a band with my brother's friends, and these were older guys - like 21 or whatever," says Hunt with a laugh. "I wasn't singing at all; I was just playing these keyboards that they had. And one night we were playing for an event at the college in Emporia, where I grew up, and we were being paid, and the gal that was supposed to sing just did not show up. And it was time to start, and the guys looked at me and just said, 'Oh my God, we hope you can sing.'
"I was pretty much horrified," she continues. "I mean, I knew I could, because I was doing it in school, but never in this kind of setting. So at that moment, I just made a conscious decision: 'I'm going to pretend like I'm all about this, and I'm going to pretend like I'm not scared out of my gourd.' And I just slammed it out for a couple hours, and I remember thinking, 'Well, (a) nobody here even knows there's anything different, (b) the singer's fired, and (c) I now get paid twice as much.'"
Laughing, Hunt says, "I just stepped into it brazenly and naïvely, and just assumed that it would all work out."
Lady Bianca. Her very name suggests confidence and brio and more than a hint of glamor, qualities that are readily apparent in the artist's soulful, soaring renderings of blues originals and covers, and that led Blues Revue magazine to call her "a great talent whose hearty, refreshing approach tugs at the heart while moving the feet." (For a quick, thrilling introduction to Lady Bianca's gifts, check out her performances of "Ooh, His Love Is So Good" - from her 1995 debut album Best Kept Secret - and Elvis Presley's "Heartbreak Hotel," both viewable on YouTube.)
Local audiences have seen married actors Jonathan and Rochelle Schrader appearing opposite one another numerous times over the years: in Oper a@ Augustana's The Pirates of Penzance and The Mikado; in the former Green Room Theatre's Into the Woods; and in Quad City Music Guild's Babes in Toyland.
Theatre
The scenic design for the Clinton Area Showboat Theatre's Into the Woods is deceptively simple - basically a half-dozen white drop curtains hanging ceiling to floor, with a few stone steps decorating the otherwise bare stage. But don't be fooled: Like a rabbit being pulled from a hat, something truly magical emerges from this production's minimalist-by-necessity façade.
THAT'S MY BOY
PROMETHEUS
On any given day, the musical I consider my all-time favorite will either be Sweeney Todd or Guys & Dolls ... unless that day is the day after I've seen a production of Guys & Dolls, in which case it's the clear winner. Heaven knows there are plenty of entertaining, tune-filled warhorses from Broadway's golden era, but do any of them have the effervescent fizz and pop of composer/lyricist Frank Loesser's 1950 triumph, a beautifully constructed musical comedy so funny and clever and sweet that it can keep you happy and humming for hours - like, 100 hours - after it ends?
Music
SNOW WHITE & THE HUNTSMAN
