For a review of American Buffalo by the Alibi's Steven Robert Allen, go to
http://alibi.com/index.php?story=20822&scn=art
Thursday, October 25, 2007
REVIEW LINK: American Buffalo
For a review of American Buffalo by the Albuquerque Journal's drama critic, Barry Gaines, go to:
http://www.abqjournal.com/abqnews/content/view/5184/45/ or
http://www.abqjournal.com/abqnews/index.php?option=com_content&task=view&id=5184&&Itemid=45
http://www.abqjournal.com/abqnews/content/view/5184/45/ or
http://www.abqjournal.com/abqnews/index.php?option=com_content&task=view&id=5184&&Itemid=45
REVIEW LINK: Little Women
For a review of Little Women by the Albuquerque Journal's drama critic, Barry Gaines, go to:
http://www.abqjournal.com/abqnews/content/view/5243/45/ or
http://www.abqjournal.com/abqnews/index.php?option=com_content&task=view&id=5243&&Itemid=45
http://www.abqjournal.com/abqnews/content/view/5243/45/ or
http://www.abqjournal.com/abqnews/index.php?option=com_content&task=view&id=5243&&Itemid=45
THIS IS OUR YOUTH - SEE THEM NOW!
By Hal Simons
I had a great weekend of theatre two weekends ago when I saw LITTLE WOMEN at the South Broadway Cultural Center, BUNNICULA at the Little Theater, and LORD OF THE FLIES at the North 4th Arts Center. These were three excellent productions featuring some of our best young actors (and some really wonderful adults as well.) They need your support, and it will be time well spent. I can't think of a better way to encourage young people today for their well spent efforts than applauding them for a job well done. On a sentimental note, it was wonderful for me to see at least one participant in each show that I had worked with when they were “making their stage debut”, and were now “seasoned veterans.” They all have one more weekend of performances, and rumor has it, there are tickets to available for all of them.
I had a great weekend of theatre two weekends ago when I saw LITTLE WOMEN at the South Broadway Cultural Center, BUNNICULA at the Little Theater, and LORD OF THE FLIES at the North 4th Arts Center. These were three excellent productions featuring some of our best young actors (and some really wonderful adults as well.) They need your support, and it will be time well spent. I can't think of a better way to encourage young people today for their well spent efforts than applauding them for a job well done. On a sentimental note, it was wonderful for me to see at least one participant in each show that I had worked with when they were “making their stage debut”, and were now “seasoned veterans.” They all have one more weekend of performances, and rumor has it, there are tickets to available for all of them.
Monday, October 22, 2007
REVIEW: Mamet's American Buffalo at the Vortex
By the "H" Man
I happened to view the Vortex's production of American Buffalo on Sat. the 20th. Here are some of my comments:
The music could have fit the show better. It seemed to be chosen at randum and was too mello. This American Buffalo not spanish Buffalo.
The set was too clean for a pawn shop. Needed to look dirtier.
As to the acting: The show started out a little slow and Teach's opening speech could have been more edgy and hateful sounding. John Wiley seemed a little too laid back in his portrayal as Donny the shop owner. The actor playing Bobby needed to have that junkie look and sound. It would have been more believable when Teach pushed him around. Timing was a little off at the very start but began to get better as the first act went on. This audience member missed seeing some snippets of anger in the first act between Teach and Donny. However, the second act definetly got more edgy and threatening.
Frank Melcori did a good job keeping his actors moving the play along. In general this audience member enjoyed the show and the performances which were solid.
American Buffalo runs for the next two weekends Fri. and Sat. at 8:00 and Sundays at 6:00 p.m. at the Vortex Theatre. For reservations, call 247-8600.
I happened to view the Vortex's production of American Buffalo on Sat. the 20th. Here are some of my comments:
The music could have fit the show better. It seemed to be chosen at randum and was too mello. This American Buffalo not spanish Buffalo.
The set was too clean for a pawn shop. Needed to look dirtier.
As to the acting: The show started out a little slow and Teach's opening speech could have been more edgy and hateful sounding. John Wiley seemed a little too laid back in his portrayal as Donny the shop owner. The actor playing Bobby needed to have that junkie look and sound. It would have been more believable when Teach pushed him around. Timing was a little off at the very start but began to get better as the first act went on. This audience member missed seeing some snippets of anger in the first act between Teach and Donny. However, the second act definetly got more edgy and threatening.
Frank Melcori did a good job keeping his actors moving the play along. In general this audience member enjoyed the show and the performances which were solid.
American Buffalo runs for the next two weekends Fri. and Sat. at 8:00 and Sundays at 6:00 p.m. at the Vortex Theatre. For reservations, call 247-8600.
Tuesday, October 16, 2007
REVIEW: Little Women at South Broadway Cultural Center
By Nancy Jeris
LITTLE WOMEN, THE MUSICAL, Produced by The Growing Stage, Ltd.,Directed by Matthew Naegeli
Last Sunday I had the pleasure of seeing a really terrific show. I am new here in Albuquerque and this is the first musical I had set out to see since my arrival in town. From the moment the delightful orchestra struck its first notes (conduced by Brady Gear) I sat transfixed. The performers were as good as anything I have seen in any Equity house in Los Angeles or New York. Beautifully trained singers and actors, all. The direction by the talented Matthew Naegeli was flawless.
.
At first I was a little distracted by the orchestra as it is in the rear of the stage, but the fine work of these performers soon took over and the distraction faded away. The musical sticks to the Louisa May Alcott classic and warms your heart as that timeless story unfolds and harkens you back to those sweet, innocent times in America’s history.
Performances continue Fri and Sat at 7:00pm, Sunday at 2:00pm. Oct 19, 20, 21 and Oct 26, 27, and 28th
At the South Broadway Cultural Center, Call 848-1323 or 288-1205 for reservations.
LITTLE WOMEN, THE MUSICAL, Produced by The Growing Stage, Ltd.,Directed by Matthew Naegeli
Last Sunday I had the pleasure of seeing a really terrific show. I am new here in Albuquerque and this is the first musical I had set out to see since my arrival in town. From the moment the delightful orchestra struck its first notes (conduced by Brady Gear) I sat transfixed. The performers were as good as anything I have seen in any Equity house in Los Angeles or New York. Beautifully trained singers and actors, all. The direction by the talented Matthew Naegeli was flawless.
.
At first I was a little distracted by the orchestra as it is in the rear of the stage, but the fine work of these performers soon took over and the distraction faded away. The musical sticks to the Louisa May Alcott classic and warms your heart as that timeless story unfolds and harkens you back to those sweet, innocent times in America’s history.
Performances continue Fri and Sat at 7:00pm, Sunday at 2:00pm. Oct 19, 20, 21 and Oct 26, 27, and 28th
At the South Broadway Cultural Center, Call 848-1323 or 288-1205 for reservations.
Sunday, October 14, 2007
On Selecting a Season
By David Richard Jones, President and Artistic Director of the Vortex Theatre.
From the mid-1980s to 2005 at The Vortex, season selection mainly involved inviting proposals to the entire board and then approving those that seemed workable, desirable, or useable. This left director selection up to the volunteer spirit and repertory selection up to the taste of willing directors.
In the past year or two, we have (1) recruited directors more actively from the community, (2) established a 5-person subcommittee as an "Artistic Committee" that develops 6 to 9-month seasons and proposes them as a unit to the entire board, and (3) created a more collaborative dialogue with interested directors to blend their taste with the Artistic Committee's sense of what the theatre ought to be doing.
Whether we are willing to take the next step and design seasons before recruiting directors remains to be seen. The dialogue on this issue is a genuine one: on the one hand, the "community theatre" spirit that sees the house as a more or less passive venue for community energy; on the other, the "artistic direction" impulse that sees the theatre's identity as based in its repertory profile and the maintenance of that identity as a job for the people who run the place. Both sides of the debate have excellent arguments.
From the mid-1980s to 2005 at The Vortex, season selection mainly involved inviting proposals to the entire board and then approving those that seemed workable, desirable, or useable. This left director selection up to the volunteer spirit and repertory selection up to the taste of willing directors.
In the past year or two, we have (1) recruited directors more actively from the community, (2) established a 5-person subcommittee as an "Artistic Committee" that develops 6 to 9-month seasons and proposes them as a unit to the entire board, and (3) created a more collaborative dialogue with interested directors to blend their taste with the Artistic Committee's sense of what the theatre ought to be doing.
Whether we are willing to take the next step and design seasons before recruiting directors remains to be seen. The dialogue on this issue is a genuine one: on the one hand, the "community theatre" spirit that sees the house as a more or less passive venue for community energy; on the other, the "artistic direction" impulse that sees the theatre's identity as based in its repertory profile and the maintenance of that identity as a job for the people who run the place. Both sides of the debate have excellent arguments.
Saturday, October 13, 2007
On Choosing a Season
By Jessica Barkl
I will speak for myself, not necessarily for VSA, though I can speak a little about that.
For me I look to find plays that will challenge the company members I have (characters and theories) that would expand their vocabulary as theater artists and keep them growing as artists and thus make our company grow in the progess.
I also, and I have to admit this is the dramaturg in me, look for plays that ask questions of our time, or that asked important questions of the period it was written in. So...this season we chose to produce THE ORESTEIA (and we will continue to explore that saga) and TROILUS AND CRESSIDA. Current politics of annoyance of war and throwing oneself into hedonism to avoid that annoyance, I think, are particularly poignant right now. The idea of vengeance and how futile that truly is, and how right now we know it's futile, yet we still try to avoid any responsibility in those facts. I think both of these plays live in that world, and question that tendency of human nature to shut off and just eat, drink, and sleep with one another...or just
off one another...to avoid talking about the truth...or at least questioning it.
Then, of course, we get into the conversation of new plays vs. classics. Right now, as a company, we are trying to develop new skills and strong skills in all walks of live theater. My own conservatory training tells me that if you can perform the classics with finesse, you can perform anything. Our ORESTEIA was a new adaptation, but not a new play. New plays also
require royalties, and as a new company we can't afford that...a national problem that I am keenly aware of and not necessarily proud that I have to be a part of that community choosing to avoid new plays because of the cost, but.. However, we only produce two shows a year, and so far in our history we've produced 2 new plays, one contemporary Korean play, 1 adaptation, and 1 classic...so I don't think we are necessarily guilty on any level of adding to the problem of new plays not being produced. However, the Catholic in me, feels extremelly guilty that she's not producing more new plays.
VSA is mostly a presenting house that sees holes in the community in regards to contemporary theater/dance and will present those works. We noticed that there wasn't a theater committed to producing works by Native Americans, so we
decided that we should, and we have produced two in addition to cultivating Native American actors, directors, and designers. We actively search for them and that community is growing with us. VSA also will co-produce any good idea
that comes to us that we see isn't already in the community. For that reason we are producing with PLAY CONSERVATORY (Jonathan Dunski's organization) LORD OF THE FLIES because this is a children's play that is not necessarily family-friendly. We produced the 365 DAYS/365 PLAYS by Suzan-Lori Parks because no one else was and By JesiAlbuquerque needed to be represented. We noticed that there was a lot of Shakespeare happening and chose to organize a Shakespeare festival (which
we want to do again and have written to the other theaters, but no response as of yet...so...) Other than that, VSA, as an organization produces one show a year for our multi-ability company Equilibrium Theater Company that advocates for
adults with developmental disabilities in a very avant-garde fashion. This year they have written their first film noir play called THE JEWELED EYE, which will begin touring in March - Molly Kohl, the Artistic Director, also always looks for material that will challenge her actors and expand their vocabulary as artists. Last year they performed their first comedy. VSA
co-produces two of In Strange Company's shows and that's about it other than contemporary dance, local dance, and some music events.
Jessica is Managing Director and Programming Assistant for Theater at North Fourth Arts
I will speak for myself, not necessarily for VSA, though I can speak a little about that.
For me I look to find plays that will challenge the company members I have (characters and theories) that would expand their vocabulary as theater artists and keep them growing as artists and thus make our company grow in the progess.
I also, and I have to admit this is the dramaturg in me, look for plays that ask questions of our time, or that asked important questions of the period it was written in. So...this season we chose to produce THE ORESTEIA (and we will continue to explore that saga) and TROILUS AND CRESSIDA. Current politics of annoyance of war and throwing oneself into hedonism to avoid that annoyance, I think, are particularly poignant right now. The idea of vengeance and how futile that truly is, and how right now we know it's futile, yet we still try to avoid any responsibility in those facts. I think both of these plays live in that world, and question that tendency of human nature to shut off and just eat, drink, and sleep with one another...or just
off one another...to avoid talking about the truth...or at least questioning it.
Then, of course, we get into the conversation of new plays vs. classics. Right now, as a company, we are trying to develop new skills and strong skills in all walks of live theater. My own conservatory training tells me that if you can perform the classics with finesse, you can perform anything. Our ORESTEIA was a new adaptation, but not a new play. New plays also
require royalties, and as a new company we can't afford that...a national problem that I am keenly aware of and not necessarily proud that I have to be a part of that community choosing to avoid new plays because of the cost, but.. However, we only produce two shows a year, and so far in our history we've produced 2 new plays, one contemporary Korean play, 1 adaptation, and 1 classic...so I don't think we are necessarily guilty on any level of adding to the problem of new plays not being produced. However, the Catholic in me, feels extremelly guilty that she's not producing more new plays.
VSA is mostly a presenting house that sees holes in the community in regards to contemporary theater/dance and will present those works. We noticed that there wasn't a theater committed to producing works by Native Americans, so we
decided that we should, and we have produced two in addition to cultivating Native American actors, directors, and designers. We actively search for them and that community is growing with us. VSA also will co-produce any good idea
that comes to us that we see isn't already in the community. For that reason we are producing with PLAY CONSERVATORY (Jonathan Dunski's organization) LORD OF THE FLIES because this is a children's play that is not necessarily family-friendly. We produced the 365 DAYS/365 PLAYS by Suzan-Lori Parks because no one else was and By JesiAlbuquerque needed to be represented. We noticed that there was a lot of Shakespeare happening and chose to organize a Shakespeare festival (which
we want to do again and have written to the other theaters, but no response as of yet...so...) Other than that, VSA, as an organization produces one show a year for our multi-ability company Equilibrium Theater Company that advocates for
adults with developmental disabilities in a very avant-garde fashion. This year they have written their first film noir play called THE JEWELED EYE, which will begin touring in March - Molly Kohl, the Artistic Director, also always looks for material that will challenge her actors and expand their vocabulary as artists. Last year they performed their first comedy. VSA
co-produces two of In Strange Company's shows and that's about it other than contemporary dance, local dance, and some music events.
Jessica is Managing Director and Programming Assistant for Theater at North Fourth Arts
A View of the The New and Exciting growth thanks to the Albuquerque Theatre Guild right here in Our Land of Enchantment
By William Derringer
As far as I know at least since 1991 there has been discussion about organizing a forming an Albuquerque Theatre Guild not only here but in surrounding areas. We needed to find a unity of theatres and this also includes the Theatre lovers from the schools, UNM and the College of Santa Fe. There is a theatrical family that does exist here, not only in our city but throughout the whole state of New Mexico. We needed to unite and skillfully reach out to as many theatergoers as possible. Awhile back the Vortex Theatre celebrated their 30th Anniversary at their present theatre and it was a joyous and hopeful encouragement. The Adobe Theatre also reaches out to not only The Rio Rancho area but for the last few years has been growing and trying to present all kinds of theatre. They now have a consistent group of theatre goers waiting to see their next season. Albuquerque Little Theatre the oldest member of over 70 years of theatre here in our city and is adding a new agenda of theatrical highlights to their upcoming season. The Cells-Fusion Theatre is celebrating several seasons of theatrical magic to the agenda as they skillfully bring a professional theatre to our city.
We have a wonderful theatrical family of not only talented theatre Directors, Actors, Stage Managers and hard working and reliable technical assistants. We also have a hopeful growing audience that will attend, support and enjoy the theatres here within our City and State. Thanks to Ray Orley, Claudia Mathes, TJ Cardella and several other theatre people in our City who were able to organize and give to us our first positive move of Theatre Unity and support.
We all need to support and encourage all of the new theatres that are opening and as theatre people we should support every new group and nourish not just the larger theatres but the small groups that are trying their hands and talents in doing the cutting edge plays, the classics, the uplifting comedic plays that in their delightful way brings back the entertainment of the theatrical scene. .
Most tourists who don’t know about our growing theatre scene have to be reached out to, and told about the blossoming theatre scene here in Albuquerque. Just because the theatre is there doesn’t mean that they will come. They have to know regularly what is happening in our City and our State.
I remember when we moved here in 1991 that I heard a comment from a tourist passing through Albuquerque. During our chat they spoke out and said that all they saw as they traveled through Albuquerque was grocery stores, Wal-Mart’s and Movie Theatres. That floored and amazed me. Before we moved here my Partner Bob and I each time we would visit we would check out the Albuquerque Journal and the weekly pages to find out what was happening with the theatre scene. We would attend every theatre we could. The Vortex, Original New Plays and Classic plays. The Adobe who not only presented entertaining comedies they did venues of Shakespeare productions that included Twelfth Night by the Swap Lab Organization and many other chosen productions.
The \CenterStage. at that time was a blossoming theatre on Central Avenue that was produced and run by the talented Director, Actor, and teacher (THEATRE IN THE MAKING) one of my favorite directors Paul Ford. What a joy it is to work with him.
He’s a gift to writers and actors. Within two weeks from our moving and living here in Albuquerque in 1991, I was already getting open arms to be part of the theatre scene here. I was called by Phil and Barbara Boch to come and audition for a replacement role in SOCIAL SECURITY at The Adobe Theatre and within five minutes of my audition with the director Kathryn Howell it was a instant bond for both of us and for the next two years we worked continually together at the Adobe and later at other theatres. Again at the Adobe I was joyous about being cast by Kathryn Howell as the American Character Actor’s dream role of Willy Loman in Kathryn’s upcoming production of DEATH OF A SALESMAN and I was definitely enriched by playing this role and working with her again.. We were blessed with a talented ensemble of actors and we all treasured being in the Adobe’s Production.
For the next nine years I viewed and became part of a very rich and growing theatre scene from the fine work done at The Vortex Theatre. ACLO a –musical theatre who throughout the city added many fine productions of Musicals – The extremely successful production of FIDDLER ON THE ROOF, GUYS AND DOLLS, and more recently over at the Highland Theatre the groups name was changed to MTS which presented Candide and in the smaller space next to the Highland did a very special and intimate Musical production of “A MAN OF NO IMPORTANCE directed by Hal Simons Within the late nineties, I was fortunate enough to direct the highly successful Neil Simon Play LAUGHTER ON THE 24TH FLOOR at the Vortex Theatre. It was so great to see audiences lining up around the corner of the theatre and with fine reviews we were fortunate to play this robust comedy to several sold out houses. I felt very grateful to have a wonderful cast and we all enjoyed the whole experience. A more recent gift was working with Peter Kierst at the VortexTheatre, who directed with gifted hands, a sterling production of Hamlet played by Chad Blummett of the TRICKLOCK Theatre and an extremely talented cast.
Within those nine years of working with The Riverside Rep Theatre which in the last few years became the Tricklock Theatre within their space at UNM. Again I was fortunate to be cast by director by Leo Shapiro who directed this very gripping production of Chekov’s “THE SEA GULL” which we presented at the Kimo Theatre and at that time The Match Box Theatre where we were spotted there by a theatre company in Baltimore and we later toured the production there for a very successful two weeks run. The history of theatres is still within many memories and with the help of our new theatre league we will be viewing live theatre in New Mexico for treasured decades. So many new and exciting companies will join the already established theatres, and we will get the news out there that Talented, Gifted and Dedicated theatre groups are constantly at work. A younger generation of actors, writers, and directors are here in New Mexico from all over the country sharing, learning, and nurturing their talents with many devoted audiences. It’s time for tourists who visit our gifted state to get to know that there are all kinds of art events, museums and theatres here in The Land of Enchantment.
By William Derringer
As far as I know at least since 1991 there has been discussion about organizing a forming an Albuquerque Theatre Guild not only here but in surrounding areas. We needed to find a unity of theatres and this also includes the Theatre lovers from the schools, UNM and the College of Santa Fe. There is a theatrical family that does exist here, not only in our city but throughout the whole state of New Mexico. We needed to unite and skillfully reach out to as many theatergoers as possible. Awhile back the Vortex Theatre celebrated their 30th Anniversary at their present theatre and it was a joyous and hopeful encouragement. The Adobe Theatre also reaches out to not only The Rio Rancho area but for the last few years has been growing and trying to present all kinds of theatre. They now have a consistent group of theatre goers waiting to see their next season. Albuquerque Little Theatre the oldest member of over 70 years of theatre here in our city and is adding a new agenda of theatrical highlights to their upcoming season. The Cells-Fusion Theatre is celebrating several seasons of theatrical magic to the agenda as they skillfully bring a professional theatre to our city.
We have a wonderful theatrical family of not only talented theatre Directors, Actors, Stage Managers and hard working and reliable technical assistants. We also have a hopeful growing audience that will attend, support and enjoy the theatres here within our City and State. Thanks to Ray Orley, Claudia Mathes, TJ Cardella and several other theatre people in our City who were able to organize and give to us our first positive move of Theatre Unity and support.
We all need to support and encourage all of the new theatres that are opening and as theatre people we should support every new group and nourish not just the larger theatres but the small groups that are trying their hands and talents in doing the cutting edge plays, the classics, the uplifting comedic plays that in their delightful way brings back the entertainment of the theatrical scene. .
Most tourists who don’t know about our growing theatre scene have to be reached out to, and told about the blossoming theatre scene here in Albuquerque. Just because the theatre is there doesn’t mean that they will come. They have to know regularly what is happening in our City and our State.
I remember when we moved here in 1991 that I heard a comment from a tourist passing through Albuquerque. During our chat they spoke out and said that all they saw as they traveled through Albuquerque was grocery stores, Wal-Mart’s and Movie Theatres. That floored and amazed me. Before we moved here my Partner Bob and I each time we would visit we would check out the Albuquerque Journal and the weekly pages to find out what was happening with the theatre scene. We would attend every theatre we could. The Vortex, Original New Plays and Classic plays. The Adobe who not only presented entertaining comedies they did venues of Shakespeare productions that included Twelfth Night by the Swap Lab Organization and many other chosen productions.
The \CenterStage. at that time was a blossoming theatre on Central Avenue that was produced and run by the talented Director, Actor, and teacher (THEATRE IN THE MAKING) one of my favorite directors Paul Ford. What a joy it is to work with him.
He’s a gift to writers and actors. Within two weeks from our moving and living here in Albuquerque in 1991, I was already getting open arms to be part of the theatre scene here. I was called by Phil and Barbara Boch to come and audition for a replacement role in SOCIAL SECURITY at The Adobe Theatre and within five minutes of my audition with the director Kathryn Howell it was a instant bond for both of us and for the next two years we worked continually together at the Adobe and later at other theatres. Again at the Adobe I was joyous about being cast by Kathryn Howell as the American Character Actor’s dream role of Willy Loman in Kathryn’s upcoming production of DEATH OF A SALESMAN and I was definitely enriched by playing this role and working with her again.. We were blessed with a talented ensemble of actors and we all treasured being in the Adobe’s Production.
For the next nine years I viewed and became part of a very rich and growing theatre scene from the fine work done at The Vortex Theatre. ACLO a –musical theatre who throughout the city added many fine productions of Musicals – The extremely successful production of FIDDLER ON THE ROOF, GUYS AND DOLLS, and more recently over at the Highland Theatre the groups name was changed to MTS which presented Candide and in the smaller space next to the Highland did a very special and intimate Musical production of “A MAN OF NO IMPORTANCE directed by Hal Simons Within the late nineties, I was fortunate enough to direct the highly successful Neil Simon Play LAUGHTER ON THE 24TH FLOOR at the Vortex Theatre. It was so great to see audiences lining up around the corner of the theatre and with fine reviews we were fortunate to play this robust comedy to several sold out houses. I felt very grateful to have a wonderful cast and we all enjoyed the whole experience. A more recent gift was working with Peter Kierst at the VortexTheatre, who directed with gifted hands, a sterling production of Hamlet played by Chad Blummett of the TRICKLOCK Theatre and an extremely talented cast.
Within those nine years of working with The Riverside Rep Theatre which in the last few years became the Tricklock Theatre within their space at UNM. Again I was fortunate to be cast by director by Leo Shapiro who directed this very gripping production of Chekov’s “THE SEA GULL” which we presented at the Kimo Theatre and at that time The Match Box Theatre where we were spotted there by a theatre company in Baltimore and we later toured the production there for a very successful two weeks run. The history of theatres is still within many memories and with the help of our new theatre league we will be viewing live theatre in New Mexico for treasured decades. So many new and exciting companies will join the already established theatres, and we will get the news out there that Talented, Gifted and Dedicated theatre groups are constantly at work. A younger generation of actors, writers, and directors are here in New Mexico from all over the country sharing, learning, and nurturing their talents with many devoted audiences. It’s time for tourists who visit our gifted state to get to know that there are all kinds of art events, museums and theatres here in The Land of Enchantment.
By William Derringer
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