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<TITLE>Walk the Line and Mark Cantor at the Kenworthy Performing Arts Centre</TITLE>
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<FONT FACE="Verdana"><B>This week at the Kenworthy Performing Arts Centre...<BR>
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<FONT COLOR="#800000"><H2>Walk the Line (PG-13)<BR>
</H2></FONT><B>Friday, February 24<BR>
7:00 PM<BR>
Saturday & Sunday, February 25 & 26<BR>
4:00 & 7:00 PM<BR>
</B>$5/adult, $2/children 12 and younger<BR>
KFS passes accepted for Sunday showings<BR>
<B>(see Review below)<BR>
<BR>
</B><FONT SIZE="5">International Jazz Collections<BR>
2006 Lecture Series<BR>
</FONT><FONT COLOR="#800000"><H2>Mark Cantor<BR>
</H2><B>Celluloid Improvisations: <BR>
Black, White, and Technicolor<BR>
</B></FONT><B>Saturday, February 25<BR>
12:30 PM<BR>
Free<BR>
* * *<BR>
<BR>
Callbacks/audition notice<BR>
</B>(one more opportunity to audition if you missed it last week!)<BR>
<BR>
<FONT COLOR="#800000"><FONT SIZE="5"><B><I>Sirius Idaho Theatre</I> announces auditions for final show of season<BR>
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<I>Sirius Idaho Theatre</I> announces auditions for <I>A Walk in the Woods</I>, by Lee Blessing, the final show of their 2005-06 season. <B>Open auditions</B> are being held this <B>Saturday, February 25, 10:00 am</B>, at <B>Eastside Marketplace</B> in Moscow at the location of the old pet store (opposite the inside entrance to the Mexican restaurant, Fiesta en Jalisco). Prepared monologues are encouraged but not required. The script for <I>A Walk in the Woods</I> is available for preview at BookPeople of Moscow.<BR>
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<I>A Walk in the Woods</I>, nominated for both the Tony Award and Pulitzer Prize in 1988, takes place in a “pleasant woods on the outskirts of Geneva.” The story follows the differences dividing two arms negotiators, one Soviet and one American. It is a refreshing and humorous look at the frustrations inherent in the negotiating process and allows us to understand the humanity of these wise and decent men.<BR>
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The cast consists of two men: Andrey Botvinnik, a 57 year old career Soviet diplomat, and John Honeyman, a 45 year old American negotiator. Dialects are not required for auditions.<BR>
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Rehearsals for <I>A Walk in the Woods </I>begin in late February and performances are April 6-8 & 13 - 15, 2006 at the Kenworthy Performing Arts Centre. <I>Sirius Idaho Theatre</I> provides stipends for actors.<BR>
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For more information about the play or to volunteer with <I>Sirius Idaho Theatre</I>, contact Pam Palmer, Managing Artistic Director, at 208-596-2270 <FONT COLOR="#0000FF"><U>siriusidahotheatre@gmail.com</U></FONT> or visit the web site of <I>Sirius Idaho Theatre </I><FONT COLOR="#0000FF"><U>http://www.siriusidahotheatre.com/<BR>
</U></FONT>* * *<BR>
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<B>Coming in March: </B>Auditorium Chamber Music Series presents <I>Masters of Persian Music;<B> </B>Capote</I>; <I>U of I Women’s Center Lunafest</I>; U of I American Indian Film Festival; Grangeville Bluegrass Company<BR>
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<B>Kenworthy Performing Arts Centre presents</B> <BR>
<I>Grangeville Bluegrass Company</I> and <I>Prairie Flyer</I> in an evening of bluegrass music on <B>Friday, March 24</B>, 2006 at 7:00 PM.<BR>
Tickets will go on sale March 1 for $12/ general admission and $8/child under 13 years</FONT><FONT FACE="Courier"><TT>.<BR>
</TT></FONT><FONT FACE="Verdana"><B>* * *<BR>
</B><BR>
Regular movie prices: $5/adult, $2/children 12 and younger<BR>
KFS passes accepted year-round for Sunday movies!<BR>
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For more information, go to www.kenworthy.org or call 208-882-4127.<BR>
<B>* * *<BR>
This week’s movie review-<BR>
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</B><FONT COLOR="#800000"><H2>Walk the Line<BR>
</H2></FONT><BR>
<U>Academy Award Nominations for “Walk the Line”<BR>
</U><BR>
<I>Best Actress: Reese Witherspoon<BR>
Best Actor: Joaquin Phoenix<BR>
Best Sound Mixing<BR>
Best Costume<BR>
Best Film Editing<BR>
</I><BR>
Directed by James Mangold; written by Mr. Mangold and Gill Dennis<BR>
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Rated PG-13 (Parents strongly cautioned). Film has hints of extramarital sex, some prescription drug abuse and a few four-letter words.<BR>
Running time: 2 hours, 18 minutes<BR>
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<FONT FACE="Verdana"><I>“Ah, I'd love to wear a rainbow every day, <BR>
And tell the world that everything's okay, <BR>
But I'll try to carry off a little darkness on my back, <BR>
'Till things are brighter, I'm the Man in Black.”
</I></FONT>
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<BR>
<B><I><U>As reviewed by James Cristopher writing for the London Times<BR>
</U></I></B><BR>
Like inmates of San Quentin prison at 7.30pm on New Year’s Day, 1958, I didn’t know an awful lot about Johnny Cash. He was just another alcoholic hick who strummed tunes. By 9pm he was a jail-house god. James Mangold’s extraordinary film begins and ends with this seminal concert in a cement gymnasium, and the drama is just as addictive.<BR>
<BR>
The director paints Cash in his pomp: rakishly handsome, dressed in black, and spookily in his element. The singer never lost his Mississippi chains, or the lifelong suspicion that he was on the wrong side of everything. Cash couldn’t drink enough liquor — or swallow enough pills — to atone for a dead brother, a bitter father and a first marriage destroyed by fame. His lyrics are paved with regret. But his music shaped a generation.<BR>
<BR>
Joaquin Phoenix delivers one of the most magnetic performances of his career as the Man in Black. He stews through sheaves of scene-setting exposition, but he broods as if his life depended on it.<BR>
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Both actor and character seem to crave pain in order to perform. It makes for mesmerizing viewing. The young Cash is full of brash and bullish innocence. There are brief visits to his air force career in Germany where he picks up his first guitar, and a crucial audition with Sam Phillips, the owner of Sun Studios, who gives him his big break.<BR>
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Mangold’s film plucks at the past like a needy child. There are flashbacks to his father’s senseless and selfish cruelty, and stoned moments where Cash aches for the emotional security that he was denied as a boy. His first wife seems to have it in spades. But weeks of boozy touring turn the marriage into a sham.<BR>
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The film slips into spiky drama when Cash falls under the spell of June Carter, a bubbly performer who has burnt her fingers more times than she cares to admit. Reese Witherspoon is a small sensation as the sassy singer who pounds the circuit with a young Elvis Presley and a manic Jerry Lee Lewis. The film hinges on her slow-burning romance with Cash. The intimacy between these two hardened alley cats is electric. Needless to say, Cash promptly falls apart after he makes the adulterous leap.<BR>
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The rest, I guess, is history. The star is endlessly scraped off the floor by Carter, and almost dragged by the hair into middle-age.<BR>
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Cash’s curse is that he was only ever truly alive when he was losing to his own demons. Phoenix captures it perfectly. He is an uncanny spit of the man himself when he walks on stage. His voice is close enough to send shivers down the spine. This is not a rose-tinted homage by any stretch of the imagination. It’s a hair-raising trip.<BR>
<BR>
<BR>
<B><I><U>As reviewed by Mark Sells writing for the Oregon Herald<BR>
</U></I></B><BR>
"Hello, I'm Johnny Cash." With a distinguished baritone voice and a constant rockabilly rhythm, Johnny Cash reshaped the country music landscape with confidence. Widely recognized as the man in black, Johnny Cash became a legend, a rebel rocker with a conscience whose songs reached out to the impoverished, the blue collar, and the downtrodden.<BR>
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"Walk the Line" chronicles Cash's early struggles, from his childhood days in Kingsland, Arkansas to his first big break at Sun Records to the gradual rise to fame and fortune on the country music scene, culminating in the famous concert at Folsom Prison. But even more so, the film depicts a great love story - the kindred spirit and long lasting romantic affair between Johnny and June Carter Cash.<BR>
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Filled with great music, "Walk the Line" pulsates with songs like "Hey, Porter" and "Cry, Cry, Cry" that gave Johnny his start to the songs that defined his success: "Folsom Prison Blues," "Ring of Fire," and the film's title track. Starring Joaquin Phoenix and Reese Witherspoon, "Walk the Line" is a stirring, straightforward musical masterpiece.<BR>
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Underneath the warm and pleasant exterior, there lies a harder edge as the film deals head on with Johnny Cash's personal afflictions involving childhood trauma, drugs and alcohol, and pressures to perform. Mangold brings a lot of things to the table, effortlessly evoking moments of awkward strife, emptiness and sorrow, guilt and yearning, and that devilish abandon that comes from drug dependency.<BR>
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I am always impressed with actors willing to take risks. And in "Walk the Line," both Joaquin Phoenix and Reese Witherspoon take monumental ones, juggling between acting, singing, and musicianship. A very difficult task made more so by the fact that both were hand picked by Johnny and June Carter Cash themselves - an honor and a heavy obligation rolled into one. The two spent nearly six months in vocal training with music producer T-Bone Burnett. And during that time, Phoenix learned to play the guitar and Witherspoon the auto-harp. In fact, I was surprised to learn that both actors truly sang and played each and every song. And while the sound isn't a perfect match with their counterparts, the illusion works to perfection. After all, it's the spirit that counts. <BR>
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The film is a fitting tribute to the man in black, exuding the same rugged simplicity and poetic beauty that filled Cash's own existence. And with two magnificent performances from Phoenix and Witherspoon, "Walk the Line" reverberates thematically with feelings of sorrow and redemption. In fact, it's the kind of movie that Johnny himself would have been proud of - a movie that was "steady like a train, sharp like a razor."<BR>
<BR>
<BR>
<B><I><U>As reviewed by A. O. Scott writing for the New York Times<BR>
</U></I></B><BR>
"Walk the Line," James Mangold's movie about Johnny Cash, is well cast, competently written and carefully costumed, it adheres to a familiar "Behind the Music" formula, following its subject through childhood trauma, marriage and divorce, alternating off-stage melodrama with recreated performances that remind us why we should care about this guy in the first place.<BR>
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Comparisons with Taylor Hackford's "Ray" are inevitable. Both pictures place on the shoulders of their relatively young stars - Jamie Foxx and, in this case, Joaquin Phoenix - the burden of impersonating characters whose real voices, faces and mannerisms could hardly be better known. For good measure, "Walk the Line" also gives us brief glimpses of actors playing Elvis Presley, Roy Orbison, Waylon Jennings and Jerry Lee Lewis.<BR>
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There are, moreover, some striking biographical similarities between Johnny Cash and Ray Charles, both of whom worked with the filmmakers telling their stories, though neither lived to see the final product. Like "Ray," "Walk the Line" tells the tale of a poor Southerner, born in the early years of the Great Depression, whose childhood was marked by the death of a beloved brother. Between the humble beginnings and the eventual immortality come events that seem almost interchangeable, more like stock situations than lived experiences. Vintage tour buses rumble down nighttime back roads. Drug habits are acquired - heroin for Charles, prescription pills for Cash - leading to trouble with the law and painful scenes of withdrawal. The houses and the record labels get bigger (Charles moved from Atlantic to ABC, Cash from Sun to Columbia), the groupies come and go, and the long-suffering wives and girlfriends occasionally burst into angry tears.<BR>
<BR>
When Cash and his combo audition at Sun Records, Sam Phillips (Dallas Roberts) stops them in the middle of a pallid gospel tune and harangues Cash about the importance of honest, raw emotion, advice that elicits "Folsom Prison Blues" and a recording contract. <BR>
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A great many songs and recordings followed, of course, of a richness and variety that very few American artists have equaled. Cash's bottomless voice and the steady, churning rhythms stayed constant, but the sheer range of material is staggering: murder ballads, love songs, novelty numbers, pop covers, gospel standards, all sung with mean wit and heartbreaking sincerity.<BR>
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Cash and Carter's long infatuation, tumultuous partnership and eventual marriage provide the film with an emotional core. Johnny's first wife, Vivian (Ginnifer Goodwin), aspires above all to middle-class normalcy and material comfort, and while the filmmakers try to show her some sympathy, she doesn't stand much of a chance next to June. Ms. Witherspoon's lively, smart performance suggests a mixture of warmth and brisk professionalism, qualities the actress and the singer clearly share. <BR>
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<I>Film reviews researched and edited by Peter Haggart<BR>
</I><B>* * *<BR>
<I>Kenworthy Performing Arts Centre<BR>
</I>508 S. Main Street, Moscow, Idaho<BR>
</B>208-882-4127<BR>
Sign up for this weekly email on events and movies at the Kenworthy by logging onto our website <BR>
<FONT COLOR="#0000FF"><U>http://www.kenworthy.org<BR>
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PAMELA PALMER, <B>Volunteer<BR>
</B>Mailto:ppalmer@moscow.com<BR>
Film and Events Committee <BR>
Kenworthy Performing Arts Centre<BR>
<BR>
http://www.kenworthy.org<BR>
To speak with a KPAC staff member, <BR>
call (208) 882-4127<BR>
Mailto:kpac@moscow.com<BR>
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