Leon Russell

Music

Leon Russell

The Redstone Room

Friday, March 20, 7:30 p.m.

 

Leon Russell will soon be taking the stage at Davenport's Redstone Room, and calling the 72-year-old singer, songwriter, session musician, producer, pianist, guitarist, and recording-company owner a musical icon is practically an understatement.

He's worked professionally, and consistently, since 1956. He's mastered the genres of rock, country, pop, blues, jazz, gospel, and even surf music. He's enjoyed a chart-topping duet with Willie Nelson. He's performed and collaborated with artists as disparate as Bob Dylan, Eric Clapton, Barbra Streisand, Frank Sinatra, Ray Charles, the Rolling Stones, the Beach Boys, and Doris Day. And in 2014, 44 years after the release of his self-titled solo debut, he delivered a new album of classic favorites titled Life Journey. So why don't we take an abbreviated look at Russell's?

 

Dana Moss-PetersonIn recent years, 36-year-old actor Dana Moss-Peterson has been asked to play several characters far younger than himself.

During flashback scenes in the Richmond Hill Barn Theatre's 2013 Death of a Salesman, Moss-Peterson played Biff Loman when he was a high-school senior and local football hero. For more than half of 2011's Leaving Iowa at the Playcrafters Barn Theatre, his Don Browning was a younger teen enduring an excruciating family vacation. In New Ground Theatre's 2012 Mr. Marmalade, the actor - not in flashback - portrayed Larry, a comically morose, suicidal five-year-old. (It's that kind of play.)

Consequently, it makes a sort of sense when Moss-Peterson says his interest in theatre began when he was even younger than Larry.

Jason PlattTheatre

2015 Playwrights Festival

Village Theatre

Friday, March 6, through Sunday, March 15

 

Artistic Director Chris Jansen is doing something a bit different with the presentations in New Ground Theatre's annual Playwrights Festival, running at the Village Theatre March 6 through 15. On two of those days, there'll be a reading of a new, full-length play titled This Side Up, written by University of Iowa undergraduate Christopher "Kit" Grassi. On four of those days, there'll be staged productions of five plays by five separate authors, each lasting between 10 and 15 minutes.

And in one of those plays, Sam Collier's In My Mother's Tongue Like Winter, actor Michael Carron will play a poetry-minded grolar bear.

Will Smith and Margot Robbie in FocusFOCUS

With Will Smith playing its polished and professional master of larceny, and Margot Robbie playing the fledgling grifter who becomes Smith's mentee and lover, Focus is so contrived, so ridiculous, and so phenomenally entertaining that while watching it, you'd almost think a new genre was being invented right before your eyes.

producer/writer/director Alejandro G. Iñárritu and team members of Best Picture Birdman or (The Unexpected Virtue of Ignorance)Neil Patrick Harris, at the tail end of last night's Academy Awards ceremony, climaxed his hosting duties with the resolution to a magic trick he'd set up earlier in the evening. Much, much earlier in the evening.

Kevin Coster and Ramiro Rodriguez in McFarland USAMCFARLAND USA

God, I hate Disney. Not all the time, of course, and in any case, "hate" is probably a strong word. But why does the studio have to keep releasing live-action movies that are inseparable from cartoons, with all of the potentially legitimate conflict inevitably dulled down and scrubbed squeaky-clean? And why does its succession of inspirational sports dramas never feature any actual coaching beyond bland and clichéd motivational speeches? And why do these damned things keep making me weep like a baby?

Kristen Stewart and Julianne Moore in Still AliceSTILL ALICE

In Still Alice, newly minted Oscar winner Julianne Moore plays Alice Howland, a 50-year-old recently diagnosed with a hereditary form of Alzheimer's. At one point in the movie, after a series of not-bad days and pretty-awful ones, Alice and her family attend an off-Broadway production of The Three Sisters starring the youngest Howland daughter, Lydia (Kristen Stewart). We see Lydia enact Chekhov's dialogue with appropriate, impressive anxiety and fortitude, and our view of Alice in the audience suggests that she sees it, too. After the play ends, the family goes backstage to congratulate Lydia, and Alice, with carefully chosen words, praises her daughter for her complex rendering of Chekhovian heart and humanity. Lydia smiles and blushes; this might be the most interest her mother has ever shown in her acting career. Then Alice asks what play Lydia is doing next, and whether she'll be sticking around New York much longer. And in the reaction shot that follows, the heartbreak in Lydia's eyes verifies what we immediately suspect: Alice, at this moment, has no idea who Lydia is.

Sam Jones and Jordan McGinnis in Glengarry Glen RossGlengarry Glen Ross was my introduction to the writing of David Mamet, with the 1992 film version of his play marking my first exposure to his work. Awestruck, I fell in love with Mamet's vulgar, layered, verbose style, which made it difficult for me to go into St. Ambrose University's new production without high expectations. Fortunately, though, director Corinne Johnson and her cast and crew - particularly set designer Kris Eitrheim - get it mostly right.

Patrick Green and Jill Schwartz rehearse Love Stories featuring Romeo & JulietDance

Love Stories featuring Romeo & Juliet

Scottish Rite Cathedral

Friday, February 27, and Saturday, February 28, 7:30 p.m.

 

Ballet Quad Cities' latest presentation in the company's annual Love Stories series - being staged February 27 and 28 at Moline's Scottish Rite Cathedral - is officially titled Love Stories featuring Romeo & Juliet. As love stories go, that's an awfully powerful one. It's also a pretty depressing one, considering that Romeo and Juliet, in the end, both die.

Of course, you know that. And Ballet Quad Cities' Courtney Lyon knows you know that. And that's why choreographer and BQC Artistic Director Lyon chose to do something unusual in her particular take on Shakespeare's tale of star-crossed lovers: "I put the end of the ballet first."

Jamie Dornan and Dakota Johnson in Fifty Shades of GreyFIFTY SHADES OF GREY

Everyone knows that movies aren't books. Yet it's amazing how many people - critics, specifically - have chosen to forget that fact when discussing Fifty Shades of Grey, director Sam Taylor-Johnson's and screenwriter Kelly Marcel's adaptation of E.L. James' pop-porn phenomenon.

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