Friday, July 13, 2012

What is Ghost Writing – Is it Wrong?




by guest blogger Karen Cole

Karen Cole

Does it matter that a celebrity autobiography was not actually written by the celeb, or that a fiction writer is taking credit for a book someone else wrote from her plot outline? In other words, what about the ethics of ghost writing - and just how much of the work is done by the ghost and how much by the named author?

When it comes to ghost writing, a lot of people think that there is something illegal or otherwise wrong about hiring a professional writer to work on their memoirs or other works. In fact, there’s nothing wrong with it. Every state in the USA has laws regarding “work for hire” projects, which is what ghost writing entails. It’s legal all through the United States and all over the world, as far as I’m aware. So it doesn’t matter whether or not a book is penned by the author listed on the cover, or if it is even entirely written by someone else.

This certainly applies fully to celebrities as well, although the media doesn’t seem to believe it, serving up steaming plates of how terrible it is that so-and-so didn’t write their own book, screenplay or rap music lyrics. This happens all too frequently, and the truth is that hiring a ghost writer is the same as hiring a mechanic to work on your car. It’s still your car, and you own all of its parts and the body of the car, keeping all rights to it, but you are hiring someone else to do the work and repairs on it. I wish people would get it, that ghost writing is no different than hiring someone to do work for you on a regular or intermittent basis is – it’s simply a “work for hire” project in all cases.

Also, in the case of fiction writers and others, a lot of people simply don’t have the time, the inclination or the professional talents of a paid professional writer. So writing a book from a plot outline or any writing, tapes or interviews supplied by the author client is perfectly legal and all right to do. The ethics of ghost writing are legally sound, and it just doesn’t matter how much work is done by the ghost writer and how much of it is done by the named author client of the ghost writer.

And usually a legal contract is signed regarding this, in cases where a lot of money is involved and also where the client wants to ensure that they keep the full copyrights to all of the material, whether it’s created by the client or the ghost writer. So the idea isn’t to lie, cheat or steal here; it’s to create solid writing and editing work that involves the client’s original ideas, plus any new ones and new material supplied by a paid professional writer - who can work the material into the right “shape” to make it much more marketable and saleable. Nowadays, publishing is a hard industry to enter, so having a professional writer prepare your work really assists you in a lot of cases. The better the ghost writer you hire, the more likely that your work will be properly reviewed by a book or literary agent, and finally picked up by a commercial publisher.

Karen Cole is Executive Director at Ghost Writer, Inc - ghost writing,  professional marketing, promotions, sales and publishing.

Note from Alec: I'd love to hear from readers what you think about these ideas.

Thursday, July 12, 2012

New painting and print show at Tacoma Community College




The Weekly Volcano, July 12, 2012
by Alec Clayton

"Deckside #2" by David J. Roholt

I really like Alain Clerc’s paintings, although not so much the ones on the left as you enter the gallery at Tacoma Community College. He’s in a new two-person show with David J. Roholt, who’s work I do not like as much, except for a group on the right side wall in the back gallery including a couple called “Taper” and a wonderful painting called “Deckside #2,” which is a kind of hybrid between Seurat’s “A Sunday Afternoon on the Island of La Grande Jatte” and some of Richard Diebenkorn’s early work.

I’ve never seen works by either of these artists before, so it was a treat to visit this show.

Clerc’s works are simplified still life paintings and landscapes and figures. Mostly still life compositions and mostly with bottles and plates and many, many, many watermelon slices rendered flat and highly stylized with minimal detail and very subtle brushwork. They are reductive to the point of being emblematic with just a few clues for recognizing the objects depicted. Tables, for instance, are flattened and viewed as if looking directly down from above, and the watermelon slices are crescents with dots to represent seeds.

The four paintings mentioned above, which are the first to greet visitors upon entering the gallery, are about the least interesting of the bunch. There’s nothing particularly fascinating about his color choices or the arrangement of his bottles and potted plants and watermelon slices in these, and the flat paint application is boring. Every other Clerc painting is excellent, and perhaps none so much so as the very next painting after these four, the one that faces the front door. It’s called “Passersby.” Perhaps more than anything else in the show it conveys a sense of mystery, and there is a tremendous surface tension created by some very subtle but energetic brushwork within essentially flat areas of color. Similar brushwork is a hallmark of all of Clerc’s best paintings in this show.

Whereas Clerc’s paintings are flat in a Pop Art fashion, Roholt’s are heavy with globs of impasto paint and gestural marks. He paints figures and scenes that practically disappear within his slashes of color. In some the paint is so dense as to look almost like a Jackson Pollock drip painting. This is the kind of stuff I normally like — all of this energy and richness of surface. But in most of Roholt’s paintings it becomes too chaotic. An example would be the two figure paintings in the back gallery, each with a very similar single female nude in what could be a field of dense jungle foliage. In one the body is painted in natural flesh tones and in the other the body is painted with the same dark blues, greens and purples as the background. The one with the natural skin colors suffers from a cacophony of harshly contrasting colors; the other, which is almost a monotone, is a much better painting. You get the texture and the energy and see the figure without any of the clutter. His boat scenes and flowers in vases in the middle gallery suffer from the same kind of clutter. By way of contrast, there is a group of paintings on the other side of the gallery of swimmers. You can’t make out the figures, but you can see the splashes of water and the floats marking the swimming lanes. His frantic brushstrokes are held in check by a unity of direction and by restricting his colors to the blue-green side of the color scale. He creates the excitement of a race without being literal, and the near-monotone coloring helps unify the imagery. These are excellent paintings, as is another one called “Deckside #2,” mentioned before, which has more color contrast, but the contrasting hues are confined within three large shapes. This may be the best of his paintings.

Among Clerc’s best are “Pink Chair,” a Matisse-like painting of two people in a pink chair, “Evening Swim,” which employs a dramatic contrast between a big black shape and the blue of a swimming pool, and “Table With Centerpiece,” a peach-colored table with a pink-on-pink color scheme and a watermelon slice. His color choices, composition and use of subtle surface markings in these paintings are masterful.

[Tacoma Community College, Monday-Friday, 10 a.m. to 5 p.m., through Aug. 16, Building 5A, entrance off South 12th Street between Pearl and Mildred, Tacoma.]



Tuesday, July 10, 2012

All-time Best Theater

Here’s a topic that’s been popping up a lot lately: What are the best musicals of all time or what are your favorite musicals? As a theater critic I get to see a lot, and frankly I’m a much bigger fan of non-musical than musical theater, but I seem to watch more of the singing and dancing kind than the other kind. That’s a topic I’ll touch on later.

For starters, I’m not exactly in love with most of the musicals that are most popular with the general public. The Sound of Music? Nah. Too sweet and corny despite some heavy subject matter. The King and I and South Pacific?  Racist and xenophobic. Cats? Give me a break. I prefer something with a little meat to it, and if it’s not uplifting and happy, so be it.
Les Miserables 25th anniversary touring company. photo by Deen van Meer.

Here’s a dozen of my favorites:
  1. Les Misérables
  2. Cabaret
  3. Fiddler on the Roof
  4. West Side Story
  5. Rent
  6. Miss Saigon
  7. Ragtime
  8. Sweeny Todd
  9. A Little Night Music
  10. Man of La Mancha (I have some doubts about this one)
  11. Jesus Christ Superstar
  12. Hair (doubts about this one too, but I love the music and the energy)

There’s also a personal favorite that I didn’t list because it is a small and somewhat intimate musical (no big production numbers, no set changes and no dancing) that earned a kind of cult status off-Broadway back in the mid-1990s but never made the big time (not yet, anyway, but it’s opening in London in the fall, so it’s not dead yet). It’s The Last Session, music and lyrics by Steve Schlachlin and book by Jim Brochu.

Picking best non-musicals is a little more difficult because I can’t list many that would probably fall toward the top if I had seen them, but I haven’t. I don’t live in New York and couldn’t afford tickets if I did, and many of the best dramas and comedies are too dark or too intellectual or too far-out to make it to regional theaters. As a typical example of why many good plays never make it to community theaters beyond the major cities, I saw a college production of Angels in America with an audience of about 20. This compares to a college production in the same town of The Sound of Music that sold out every performance. Schmaltz and good times sells; serious drama not so much.  I’ve never seen Ice Man Cometh or Long Day’s Journey Into Night, and I’ve seen Death of a Salesman only on television, never live. There are probably others that should be in the top 10 that I’ve yet to see.

David Wright, Daniel Guttenberg, Jason Haws, Christian Doyle, Dennis Rolly in The Seafarer at Harlequin Productions, Olympia, Washington.

With that in mind, favorite non-musicals I’ve actually seen are:
  1. Radio Golf (hoping someday to see the rest of Wilson’s plays)
  2. Raisin in the Sun
  3. Hamlet
  4. Macbeth
  5. Clybourne Park
  6. Cat on a Hot Tin Roof
  7. Sins of the Mother
  8. The Seafarer
  9. Rosencrantz and Guildenstern Are Dead
  10. A Midsummer Night’s Dream
  11. How I Learned to Drive
  12. Oleanna
  13. The Complete Works of William Shakespeare (Abridged)
  14. Stop Kiss
  15. Our Town
Since I included a little-known play in an addendum after the musical list I’ll allow myself one here. A few  years back I saw The Brothers Size by Tarell Alvin McCraney at the Seattle Repertory Theatre, and it was one of the most astounding plays I’ve ever seen.  It’s an extremely intense three-actor play that investigates African myths through the eyes of working class African-American brothers. It is presented with a minimalistic set — at the Rep the set consisted of a pile of automobile tires —and the characters actually recite stage directions, something I’ve never seen done in any other play but which was almost magically effective.

I’d love to see readers comment with their own picks of best shows.

Friday, July 6, 2012

Best of the Northwest

The latest selected works from TAM’s permanent collection

 
 
"The Brooklyn Crucifix" by Bo Bartlett, courtesy Tacoma Art Museum

The latest show at the Tacoma Art Museum (TAM) is Best of the Northwest: Selected Painting from the Collection. Calling an exhibition "Best of the Northwest" is an exercise in hubris at best - an invitation for critics like me (and let's face it, everybody's a critic) to say, "They call this the best?" (Can you hear the note of sarcasm?)

Well, if you judge the show by Bo Bartlett's "Brooklyn Crucifixion" or William Ivey's luminous "Blues and Whites" or Alden Mason's "Garden Rocker," this show definitely does represent some of the finest art created in the Northwest. But if you think of some of the artists not represented in this show, or of some of the more famous artists whose work in this show is not their best or most representative work, then this show falls far short of living up to the promise of its title. For instance, where is the Michael Spafford or the Fay Jones? Surely TAM owns at least one of each, or surely they should.
Nearly all of the most famous Northwest painters are represented, but not necessarily by signature works or by their best works. There are paintings by Mark Toby, Guy Anderson, Morris Graves, Jacob Lawrence and Kenneth Callahan, but none of their most exciting work. Graves' "Chalice Holding the Stimson Mill," for instance, is dark on dark and hard to see, and lacking some of the mysticism normally associated with his work.  Callahan's "Cascades" is a dull landscape picturing two hikers in the mountains in flat tones of gray and earth colors. It is a nice little painting but exhibits none of the bold expressiveness for which Callahan is famous.

But back to the Bartlett, Ivey and Mason. These alone are worth a trip to the museum. Bartlett's "Brooklyn Crucifixion" is a powerful piece of realist art with a unique connection to South Puget Sound. It illustrates a pivotal moment in the play "My Name is Asher Lev" written by Aaron Posner, adapted from the novel by Chaim Potok, which had its Northwest Premiere at Lakewood Playhouse in 2011 directed by the late Marcus Walker. Depicted is a woman being crucified in the window of a New York apartment. On one side of her is the Jewish artist Asher Lev; on the other, his father, each clearly recognizable as the actors who played their parts: Paige Hansen, Jeffrey Alan Smith and Elliot Weiner.  It is a powerful image beautifully painted, and the historical connection to Lakewood Playhouse and to Walker, who died shortly after the premiere, only adds to its drama and poignancy.  The artist gifted the painting to the museum.

Ivey's "Blues and Whites" was included in the Safeco Collection exhibition at TAM a year ago (a show which really did represent the best of the Northwest. That painting blew me away at the time. In my review of that show, I said it was one of the best abstract paintings I had seen in a long time. That assessment still holds. It's a simple painting of rectangular forms afloat in a field of white created with shimmering, short, staccato brushstrokes. Imagine if you can a marriage of paintings by Mark Rothko and Susan Rothenberg.

Mason's large "Garden Rocker" is the painting that greets visitors as they enter the gallery. It is part of a series of paintings inspired by Burpee seed catalogs. Large globs of wet paint are allowed to soak into and stain raw canvas. The colors are dull, but in a strange way seem much brighter than they are. From my recent reading in conjunction with the show, I've learned that this series is pretty famous, but I was previously unaware of it, and it is totally unlike anything of his I had seen before. When I think of Alden Mason, I picture bright colors squeezed onto the canvas in heavy ribbons of color such as his wall-sized painting in the Convention Center in Seattle. This painting was an enjoyable surprise to me.

[Tacoma Art Museum, Wed.-Sun. 10 a.m. to 5 p.m., Third Thursdays 10 a.m. to 8 p.m., through March 2013, admission $10, student/senior/military $8, children 5 and younger free, Third Thursdays free from 5-8 p.m.,1701 Pacific Avenue, Tacoma]

Shattering glass: The Museum of Glass 10th anniversary celebration


The Museum of Glass is celebrating its 10th anniversary with two days of festivities featuring food, music, and - get this - shattering glass.

It's also celebrating the opening of a new exhibition featuring recent works by master artist Lino Tagliapietra.

The celebration runs throughout the day and night on July 13 from 10 a.m. to 10 p.m. There will be food and drinks and fun activities on the plaza. Choripan by Asado and Social Bar & Grill will serve up a selection of street food and assorted beverages, including a new signature Museum of Glass beer from Engine House No. 9 that has been crafted with input from the Hot Shop Team. Fair-style games, including a "shatter box" for breaking glass, will be available for visitors to play. Music will be provided by Friends and Family, Nolan Garrett, Hot Bodies in Motion, Joy Wants Eternity, Miles Max and Rumble Pack, and Not From Brooklyn; and there will be break dancing by Fab-5 on the plaza both days.

Now ... about that glass shattering. Are we talking slinging hammers into sheets of glass? No, we're talking shattering wine glasses with the sound of music. The Sound of Music, you may ask. Wow, are we talking about Julie Andrews singing in the Swiss Alps or are we talking about screaming guitars or high notes from a chorus of mezzo sopranos or maybe all seven bands playing at once? Be there Friday night to find out.

Here's how the shattering box was described to me: It is a custom made box - plywood base with a clear plexi vitrine on top. The wine glass is fully contained - very safe.  It will be staged on the plaza. There is one for guests to "play" ($5) and one for the bands.

Kids activities on Friday are the cone head party hats and a glass etching activity.  There will also be entertainment Friday night with the Fab-5 Break Dancers (pun intended?).

Saturday is Family Day with fun activities from 1 to 4 p.m., including painting a mini gondola with artist Jennifer Adams and more Fab-5 Break Dancers in the Grand Hall at 1 and 3 p.m.

The main event will be the opening of  "Maestro: Recent Works by Lino Tagliapietra."  The exhibition showcases 65 glass masterpieces created by Tagliapietra during the past decade (2002-2012). The works demonstrate the artist's evolution to larger works and use of bolder colors and patterns over his nearly 50-year career.  Five large-scale installations, featuring butterflies (Borboleta), vessels (Avventura), boats (Endeavor), seagulls (Gabbiani) and shields (Masai) are central to the exhibition. An artist and member reception celebrating "Maestro" will be held beginning at 7 p.m.
Admission for the weekend is $10 per person per day (children 12 and under are free). For more information, visit the MOG website at www.museumofglass.org.

The anniversary celebration is sponsored by The Weekly Volcano and Creature.

Thursday, July 5, 2012

Dreamgirls audition

I just got this from the Tacoma arts listserv and thought I should share it.

Principal and lead Auditions for DreamGirls. Looking for
African-American singers/actors/dancers over 18 years of age. Dreamgirls
is being produced by DASH Center for the Arts. Show will run weekends
Nov 23-Dec 9.

DASH Center is located at 1504 Martn Luther King Jr Way in Tacoma.

Audition/Interview Dates: July 20 8-10pm; July 21 7-9pm
Callbacks or second audition/interview: July 24th 7pm

Audition Requirements: Please prepare two contrasting musical pieces.
Music outside of theatre genre is acceptable. Please DO NOT perform
anything from the musical or movie.

Describe any monetary compensation: There is a small stipend given to
principal performers.

Character Breakdown / Project Needs: African American men and women of
18 and older who sing and dance.

--MOST roles open

How to send submissions
Email a headshot and resume to info@thedashcenter.org along with date
and time you would like to audition.
APPOINTMENT REQUIRED

Prefered method of submission: Email

Any Questions?

Candi Hall
D.A.S.H. Center Exec. Director
(253) 507-9466 Studio
(253) 324-6768 Cell

Monday, July 2, 2012

Summertime at Harlequin


Summer Session: Set in the ’70s
reviewed by Alec Clayton



Christian Doyle
Jesse Smith, Jessica Low, Lindsey Larson and Christian Doyle

Jesse Smith
Christian Doyle and Lindsey Larson
Harlequin Productions has an unbeatable formula for its summer music extravaganzas: pick a theme or an era (‘60s music, Motown, women singers, etc.) and the top hits from that time or genre; pull together four or five of the best musical theater performers in the South Sound and an all-star rock band — and rock out. Just to keep it… honest?... they every once in a while alternate these rock ‘n’ roll song fests with The Rocky Horror Show or A Rock ‘n’ Roll Twelfth Night, written by Scot and Bruce Whitney “with apologies to William Shakespeare.”

With a formula like that, how can they possibly go wrong? They can’t, and they’re proving it once again this summer with Summer Session: Set in the ’70s.

Summer Session is a revue of hit songs from the’70s including such greats as Don McLean’s “American Pie,” “Young Americans” by David Bowie, “Only The Good Die Young” by Billy Joel, Led Zeppelin’s “Stairway To Heaven,” Dire Straits’ “Sultans Of Swing” and Springsteen’s “Born to Run.”

The singers are: Christian Doyle, who local theater-goers will remember for his outstanding performance in last summer’s Summer in the ‘60s; Jesse Smith right off his recent stint as Tommy in The Who’s Tommy at Centerstage; Lindsey Larson, making her Harlequin debut after a role in Titanic the Musical at 5th Avenue Theatre in Seattle; and Jessica Low, also making her Harlequin debut, whom I haven’t seen since A Chorus Line and Children of Eden at Capital Playhouse.

Also singing on one song, “Sultans of Swing” — and doing a damn fine job of it — is musical director and band leader Bruce Whitney. Regulars at Harlequin shows know that it has become a tradition for Whitney to step out of his role as band leader to sing on at least one song in their summer music revues as well as in their annual Christmas show in the Stardust series. He is unassuming and sings with restraint, and is always a crowd pleaser.

The band is made up of favorite local musicians Andy Garness, drums; Rick Jarvela, Bass; Brad Schrandt, keyboards and horns; Daven Tillinghast, guitar; and Whitney on keyboards and acoustic guitar. They were joined on few songs at the opening of the second act by local high school students Alec Taylor on trumpet and Julia Soto on baritone sax.

The band stands behind the singers and the only set pieces are a few chairs and music stands. The only theatrical touches are some dramatic lighting and a film projection by James Bass — a nice touch and competently done, but scarcely noticeable because your eyes are glued on the performers.

All four are excellent singers, and their dance moves are exciting. The two women throw themselves into the dancing with exuberance, especially Larson, who is a dynamo of energy. The men exhibit more cool than excitement in their dance moves.

The show opens with a couple truly iconic songs from the ear, “The Wall” performed by the quartet, followed by Doyle soloing with an acoustic guitar on “American Pie.” This guy could and could be a rock star.

There are so many great songs wonderfully staged that I hardly know which to single out. The first to come to mind is Foreigner’s “Cold As Ice” performed marvelously by Larson, Smith’s rocking version of the Bee Gee’s “Stayin Alive.” Then there’s Low’s solo on “Go Your Own Way,” and Chicago’s “25 or 6 to 4” with Larson taking the lead and the band and chorus rocking out is so loud and wild that I thought How can they possibly follow this?! Only something totally contrasting like a ballad could work. So they started with a whispery quiet version of “Stairway to Heaven” that built into a hard-rocking song by the whole group.

And finally the whole group had the entire audience on its feet dancing and clapping to a rousing “Take Me to the River” that turned the theater into a gospel meeting house. That’s been a trademark of their summer musicals since the first one, “Dancin’ in the Streets” when the whole audience spontaneously rushed the stage to dance and sing with the performers.

The magic continues.

WHEN: Thursdays through Saturdays, 8p.m., Sundays 2 p.m. through July 22
WHERE: State Theater, 202 E. 4th Ave., Olympia
TICKETS: prices vary, call for details
INFORMATION: 360-786-0151; http://www.harlequinproductions.org/