Repertoire Web Thu, 19 May 2022 12:22:30 +0000 en-US hourly 1 Repertoire Web 32 32 Dhaakad Box Office Collection Day 1 Predictions: Will Kangana beat all the action heroes in B Town? Thu, 19 May 2022 12:22:30 +0000

Billed as an action thriller, the ‘Queen’ of Bollywood, Kangana Ranaut star Dhaakad is set for release. The film directed and presented by Razneesh Razy Ghai will be released in theaters on Friday, May 20, 2022.

The already high-profile film created a lot of buzz following the release of its powerful trailer in which Kangana can be seen in full avatar action as Agent Agni performing an action sequence with excellence and confidence.

The trailer also shows the dashing Arjun Rampal as the deadliest villain Rudraveer, taking on the role of a coal mafia. The film is produced by Deepak Mukut and Sohel Maklai and holds the banners of Sohum Rockstar Entertainment, Sohel Maklai Productions and Asylum Films.

Number of Dhaakad Screens

The film is out on 2200 screens nationwide, KGF2 is already playing and another Hindi release Bhool Bhoolaiya is getting more buzz so screens are distributed accordingly.

Dhaakad Advance Booking Start

As there are only 2 days left until the film’s release, advance booking of tickets for this highly anticipated action entertainer has already begun. The film’s main antagonist, Arjun Rampal, has also urged fans to book the tickets in his villainous style, which he will play in the film.

Dhaakad Box Office Showdown

Kangana star Ranaut will face a direct clash with highly anticipated Kartik Aryan star Bhool Bhulaiyaa 2TB, which is the sequel to Khiladi Akshay Kumar’s 2007 horror comedy-drama Bhool Bhulaiyaa.

To avoid clash with other biggies like RRR, BB2 has been repeatedly postponed, however, it will eventually deal with Kangana’s action-packed thriller. Well, the hype for both movies is on par and it will be interesting to see which movie out of two can push more and more people into theaters.


The star of Kangana Ranaut, Arjun Rampal and Divya Dutta is said to be made up of a Rs. 70 to 80 Crore and in our opinion, the film must gross the gross amount of Rs. 100 Crore to be called a hit film.

Salman Khan, Ram Gopal Varma as famous names in entertainment industry are supporting the film:

Dhakkad Day 1 Prediction

Although recently released Bollywood movie films have failed to perform well at the box office except for Vivek Ranjan Agnihotri’s The Kashmir Files which brings Tsunami to the box office and crosses Rs. 30o crore , expectations are very high for Kangana’s Dhaakad.

One thing that could be a big hurdle and may affect the film’s revenue is Bhool Bhulaiyaa’s team’s ticket price reduction strategy, which is seen as a smart move by the film’s makers to incentivize more and more viewers to watch their film.

But, we can’t undermine the mighty Dhakkad, Kangana’s performance is already stealing the show and the thing is, he’s going to give the other biggie good competition. In our opinion, Dhakkad is going to witness a decent opening and can fetch some raw rupees. 8-9 crores at the box office on day 1.

Popular film critic Sumit Kadel also appreciated the response to both the movie’s trailer and also predicted a decent opening for the film.

The film was also certified A by CBFC on June 17, 2022 and will run for 2 hours, 11 minutes and 34 seconds, film critic Taran Adarsh ​​shared on social media:

Listen to the best compositions of the most versatile artist Techno-Xcitement on SoundCloud Tue, 17 May 2022 17:57:55 +0000

A very versatile and young artist, techno-Xcitement brings out the best in techno music. His listeners recognize him as the best Holland Techno Artist

If you are a techno music lover and someone who likes to listen to EDM songs, the artist techno-Xcitement is the new name you need to know. Using his years of experience in music, the artist has created some of the happy songs of all time. He is extremely talented and versatile in his sound design. The songs he composes are fresh, clean, immersive and exciting. They engage people through their takes of digital beats. His songs are capable of creating an immersive EDM musical arena for music lovers. The song, ‘Phobos Rec. #8′, creates an enchanting atmosphere for people. You will instantly fall in love with the song. I deeply felt that the song showed subtle cinematic twists in its progression, which drove me crazy after the song.

Another song that can introduce you to the best of techno music is ‘RolmOps’. The song makes extensive use of EDM elements. His versatility in musical composition is perfectly visible in the song. Changes in speed and unpredictable twists made the song more delicate and multi-layered. The kind of enthusiasm he showed in the song is unique. the Holland Techno Artist mined every ounce of its victims into a euphoric soundscape. So, I would definitely recommend this song to all techno music lovers. So listen to the songs of the artist techno-Xcitement on Sound Cloud. For more on this versatile musical character, follow him on instagram.

Listen to these songs on Soundcloud:

Mahesh Babu-star maintains a fine run Tue, 17 May 2022 10:32:00 +0000

The highly anticipated Telugu film Sarkaru VaariPaata, starring Mahesh Babu was finally released last week and is currently booming not only in India but also in the United States of America. There is a buzz around Southern content across the world amid huge blockbuster films such as Pushpa: Ascension, RRR, and KGF: Chapter 2. Following these blockbusters, Sarkaru Vaari Paata has also successfully made its way into the hearts of fans.

The plot of the film is a mixture of the right amount of emotions, drama and action and has the essence associated with Southern cinema. The action drama received mixed reactions from viewers, but still scores strong numbers at the global box office. It is doing well at the box office, especially in Andhra Pradesh and Telangana.

According to business analyst Manobala Vijayabalan, Sarkaru Vaari Paata hits good numbers in Andhra Pradesh and Telangana. The movie, which grossed Rs 52.18 crore in the two states on its opening day, hit Rs 7.13 crore on day 5. The movie grossed a total of Rs 115.25 crore in the two states.

Mahesh Babu is currently enjoying the success of the film in the United States as well, as the film has recently taken another step. According to business analyst Manobala Vijayabalan, Sarkaru Vaari Paata is a huge success in the United States. On its fourth day in theaters, the film entered the region’s $2 million club. The film marked Mahesh Babu’s fourth film to cross the $2 million mark. The actor also has a movie in the $3 million club in the United States.

Sarkaru Vaari Paata collected a total of Rs 75.21 crore on its first day in theaters. On its first Saturday, the film earned Rs 27.5 crore and Rs 131.55 crore on its first Sunday. Mahesh Babu-star was one of India’s biggest openers at the global box office. RRR topped the list with Rs 257.15 crore followed by KGF: Chapter 2which raised Rs 165.37 crore.

Learn more about the movie

The film also stars Keerthy Suresh as Kalaavathy. The actress receives a lot of praise for her role in the film. It also features Nadhiya Moidu and Samuthirakani in supporting roles.

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The National Arts Center’s next season features Buffy Sainte-Marie, Bruce Liu and a double dose of Margaret Atwood Tue, 17 May 2022 04:01:00 +0000

Baritone Joshua Hopkins, foreground, on the Skywalker Sound scoring stage, with an image of his sister Nathalie Warmerdam and her two children, Valerie and Adrian, behind.Jake Heggie/Houston Grand Opera

The Ottawa-based National Arts Center has announced the world premiere with orchestra of an eight-song suite in memory of a horrific series of murders that took place seven years ago in Canada.

Songs for the Murdered Sisters was written expressly for Canadian baritone Joshua Hopkins, who makes his solo debut at Southam Hall in a work that recounts the tragedy of needlessly lost lives. The NAC Orchestra’s co-commission with poetic text by Canadian author Margaret Atwood and music by Jake Heggie is part of the NAC’s just-unveiled 2022-2023 season.

On the morning of September 22, 2015, in Renfrew County, Ontario, a man brutally murdered three women in their separate homes. The violence has devastated the rural Ottawa Valley community where opera singer Hopkins grew up. His sister, Nathalie Warmerdam, was one of the women killed.

“I felt so numb after Nathalie’s murder,” Hopkins told The Globe and Mail last year. “You don’t deal with grief in a linear fashion – any emotion can arise whenever you encounter an emotional surge. But meaning transforms grief into a more peaceful and hopeful experience. These songs provided that meaning for me.

The orchestral presentations of Songs for the Murdered Sisters will perform at Southam Hall on February 9 and 10, 2023. A piano/voice version of the song cycle had its live premiere earlier this year at Houston’s Rothko Chapel, presented by co-curator of Houston Grand Opera. A Songs for the Murdered Sisters film premiered last year; an album was nominated for a Juno award this year but lost to Emily D’Angelo Energy.

From October 27 to 29, the Royal Winnipeg Ballet will present The Handmaid’s Tale, accompanied by the NAC Orchestra.Daniel Crump/National Arts Center

On the one hand, the new NAC season represents stabilization for the performing arts centre. Productions and concerts previously postponed due to the COVID-19 pandemic have been rescheduled. The original NAC premiere of Songs for the Murdered Sisters, for example, was postponed twice. The 2022-23 season also marks the return of subscription formulas.

However, the NAC’s artistic direction team is in transition. French Theater Artistic Director Mani Soleymanlou presents its inaugural season, while Jillian Keiley (English Theater Artistic Director) and Cathy Levy (since 2000, NAC Dance Executive Producer) offer final programming slates that conclude their terms.

One of the upcoming dance events also involves author-poet Atwood. From October 27 to 29, the Royal Winnipeg Ballet presents The Handmaid’s Tale, accompanied by the NAC Orchestra. Choreographed by Lila York, the ballet is steeped in the prophetic spirit and dystopian story of Atwood’s award-winning 1985 novel, which was later adapted for an Emmy-winning American television series. The ballet was described by The Globe as “bland” but “eminently watchable” when it premiered in Toronto in 2013.

Keiley, from Newfoundland, is saying goodbye after a decade at the helm of English Theatre. Its closing season includes a two-part stage adaptation of Ann-Marie MacDonald’s fall to your knees, a sweeping novel that chronicles three generations of the Piper family of Cape Breton Island. Created in partnership with Vita Brevis Arts, Neptune Theatre, Grand Theater and Canadian Stage, Hannah Moscovitch and Alisa Palmer’s adaptation will premiere in Toronto in early 2023 before touring London, Ontario, Halifax and the NAC .

Other English Theater highlights include The breathing hole by Colleen Murphy, with translation by Siobhan Arnatsiaq-Murphy and Nattilingmiutut by Janet Tamalik McGrath. The NAC Indigenous Theater co-production explores history and the climate crisis with the story of a polar bear cub adopted by an Inuk grandmother.

As for French Theatre, new artistic director Soleymanlou has invited 40 artists with diverse identities from across French-speaking Canada to create UN. Of them. Threea choral performance that runs from September 28 to October 1, before touring theaters from Moncton to Vancouver.

Buffy Sainte-Marie will participate in a show that also includes performances by as yet unknown musicians on September 16 at Southam Hall.Mark Zaleski/The Canadian Press

Noteworthy pop concerts include Starwalker: A Celebration of the Songs, Music and Life of Buffy Sainte-Marie. The Indigenous Canadian-American singer-songwriter takes part in a show that also includes performances by as-yet-unknown musicians on September 16 at Southam Hall. The tireless 81-year-old icon won the Polaris Music Prize in 2015 for his album power in the blood.

The NAC Orchestra season opens in September with the appearance of Montreal pianist Bruce Liu, who won first prize at last year’s Fryderyk Chopin International Piano Competition in Warsaw. The young virtuoso interprets Rachmaninoff Rhapsody on a theme by Paganini in a lively concert program that also includes playful works by Richard Strauss and Canadian composer Dinuk Wijeratne.

Ticket information for the 2022-2023 NAC season is available on the performing arts center website.

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Everything you need to know about “controlled compositions” Mon, 16 May 2022 21:26:56 +0000

The music economy is constantly changing and there are some things you need to know as a musician and songwriter to keep up to date.

by chris castle music technology solutions

It looks like the legal rate for songs on CDs and vinyls will finally see a significant increase from January 1, 2023 (assuming the Copyright Royalty Board approves the settlement proposed by major labels and publishers). We have to recognize that there are many independent record labels that have never had to deal with a mechanical rate increase – the old rate of 9.1¢ has been in effect since 2006. If a label was founded anytime after 2006 the problem just didn’t I didn’t come before.

The new rate (which may well change each year of the 2003-2007 tariff period due to cost-of-living indexation) will require record labels to check their royalty accounting programs to ensure they are changing rates as needed. It will also become an audit point for artist audits by artists/songwriters or producer audits by producers/songwriters, and of course also publisher audits.

But there is also a question of how to deal with what I call “controlled compression” caused by the collision of rate setting dates with the new rate as applied to outside writers. (I’ve posted a bunch on these topics, so if you don’t immediately recognize what I mean, I refer you to those posts.)

In addition to controlled composition compression, the conversation should include what to do about the whole concept of controlled compositions, a contract clause that only applies in the United States and Canada, and a a concept that is anathema to former songwriters and collecting societies in the United States and Canada. Since digital recordings are usually paid for at full legal rate (or should be), controlled composition clauses are very much a feature of physical setups.

There is a feeling that the whole concept of controlled compositions should be dropped. Since record companies have come to rely on certain economic considerations when deciding whether to keep titles in print and not remove them, i.e. stop making them available retailers, it’s important to understand what effect trying to force labels to pay full price for each song will have on the music economy, especially for independent labels that sell a disproportionate number of units of vinyl. Sudden increases in royalties could have dire consequences for the people who are often the biggest investors in certain genres of music and have the least ability to lobby for their interests, so we need to be careful in rebalancing the economics of songwriters.

An intermediate step might be to emulate a business practice in Canada called a “mechanical licensing agreement” that has worked very well for many years. The “MLA” offers protections against the worst terms of the Controlled Compositions Clause and was a voluntary agreement between labels and CMRRA (Mechanical Collecting Society of Canada).

The MLA was born with David Basskin, the former head of CMRRA, and David negotiated the MLA with major independent labels in Canada. You can listen to my 2011 interview with David on SoundCloud.

The main terms of the MLA cover the rate (which was not less than 3/4 but this dog will not hunt again, and after 1988 Canada did not have a legal rate like the United States), free goods limited to 15%, no reduction for outside writers paid at the full rate.

1. Full rate: Songs must be paid for at the full applicable rate and must be paid for on the free products of the LP Standard Sales Plan (a common offer if the artist/writer is signed with a publisher affiliated with the record company);

2. Cap: Rather than a contractual rate of 10 or 11, the MP sets the ceiling at 12;

3. No rate fixing date: The rate is not only fixed, but also floating, so there is no concept of a rate fixing date and should apply retroactively and prospectively; and

4. Stage: The application of the cap cannot result in a song being paid for less than 50% of full price (which could occur across multiple discs or box sets).

There are other bells and whistles, but those are the main points.

While I understand a record company may want to cap their mechanical royalty fees, one of these terms would further that business objective. It is the application of all the terms of controlled competition that makes the clause so onerous.

Although the Copyright Royalties Board can set tariffs, I doubt that it has jurisdiction to deal with private contracts. Congress could pass legislation, but I think that would be an uphill battle and I’m not sure I want Congress to micromanage the music industry any more than it already does with statutory tariffs and the courts .

But nothing prevents a voluntary agreement.

KGF Chapter 2 Box Office Collection Day 32: Yash’s Movie Collects Rs 1191 Crore Mon, 16 May 2022 03:00:00 +0000

Yash’s KGF: Chapter 2 is having a strong fifth week at the box office. So far, the film has collected Rs 1191 crore worldwide in just 31 days. The revenge drama will cross the Rs 1,200 crore mark at the box office this week. Directed by Prashanth Neel, KGF: Chapter 2 has broken box office records since hitting theaters in April.


KGF: Chapter 2 hit theaters on April 14 in multiple languages. Due to the novel coronavirus pandemic, the film has been postponed several times. The creators also hinted at a possible sequel to KGF: Chapter 2.

According to business analyst Manobala Vijayabalan, KGF: Chapter 2 hit Rs 1191.24 crore in 31 days. His tweet read: “#KGFChapter2 WW Box Office Week 1 – Rs 720.31 cr. Week 2 – Rs 223.51 cr. Week 3 – Rs 140.55 cr. Week 4 – Rs 91.26 cr. Week 5. Day 1 – Rs 5.20 cr Day 2 – Rs 4.34 cr Day 3 – Rs 6.07 cr Total – Rs 1191.24 cr ROCK solid even on 5th Saturday (sic).

Trading expert LM Kaushik has revealed that KGF: Chapter 2 raised Rs 10.61 crore in just 32 days. He wrote: “Rough update from Chennai City on recent biggies, #KGFChapter2 #Kgf2 – Rs 10.61 CR, 32 days. #Beast – Rs 10.37 CR, 33 days. #RRR #RRRMovie – Rs 8 .89 CR, 52 days. #KaathuVaakulaRenduKaadhal – Rs 4.81 CR, 18 days. #DoctorStrange #MultiverseOfMadness – Rs 2.65 CR, 10 days (sic).”

Here is the message:


KGF: Chapter 2 is a revenge drama, written and directed by Prashanth Neel. The film is produced by Vijay Kiragandur under Hombale Films. The film stars Yash, Raveena Tandon, Sanjay Dutt and Srinidhi Shetty in the lead roles. Ravi Basrur composed the music for the film.

Make arts and culture the center of growth in downtown Fort Lauderdale Sun, 15 May 2022 12:01:46 +0000

In early April, the Nova Southeastern University Art Museum Fort Lauderdale hosted the first-ever international “Codaworx: Experience” summit. The conference brought together hundreds of creatives, civic leaders, and tech companies whose fusion of art and technology creates phenomenal civic projects. These projects promote economic development, promote civic engagement and stimulate tourism. The two-day event featured an evening display of an impressive animated artwork projected via advanced laser projection technology onto the museum’s modernist building facing Las Olas Boulevard.

The NSU Art Museum was the perfect venue for this cutting-edge event. For more than 60 years, the museum has remained a mainstay and engine of cultural flourishing in downtown Fort Lauderdale. The NSU Art Museum is the central meeting point (literally and figuratively) of South Florida, representing a crossroads of culture. It has an extensive permanent collection of works of art and has produced world-class art exhibitions which have featured renowned artists such as Frida Kahlo, Frank Stella, Keith Haring, Kehinde Wiley, Anselm Kiefer, Renoir and Picasso , while dedicating itself to enhancement and education. the work of local artists.

The NSU Art Museum is on par with the finest museums in the world. Since its 2008 merger with Nova Southeastern University, one of the largest private research universities in the United States, the NSU Art Museum has actively fostered a strong community through the arts where families can build memories and enthusiasts of art connect to the international art world. Its free field trips and grassroots art workshops attract more than 3,000 Broward County youth from low-income families each year, and its free Teen Arts Council provides teens with exciting career training in the arts.

Thriving arts and cultural organizations are what make cities vibrant and iconic. There are no big cities without great museums. Sustained growth is fueled by sustained culture and various types of interesting items, from visual arts to performing arts, museums and beyond. Since 2010, Fort Lauderdale has seen a 43% increase in the downtown population aged 25 to 44, according to the International Downtown Association.

The museum is a connector in that it is more than just a place to see art. It is a place to connect with others through exhibits and family programs. Its mission is to make art and learning accessible, whatever the circumstances. The NSU Art Museum partners with the City of Fort Lauderdale to offer all residents free admission on the last Sunday of each month, and with support from Broward Health, the popular Free Starry Nights are back, offering all visitors free entry on the first Thursday of each month. All children 12 and under are still free, as are Food Assisted Families (SNAP). These initiatives are generously supported by the museum’s volunteer board of trustees, corporate and individual donors, and local foundations, including the Community Foundation of Broward and Funding Arts Broward.

At its core, the NSU Art Museum embodies all that is needed to provide a strong cultural and artistic foundation and a platform for developing a thriving and culturally rich community. As we continue to grow as a city, connecting and celebrating the arts must remain central to Fort Lauderdale’s strategic and sustainable growth.

Francie Bishop Good is Chair of the Board of Governors of the NSU Art Museum Fort Lauderdale.

Nostalgia Book (Australian Contemporary Opera Co) Sat, 14 May 2022 06:07:56 +0000

For die-hard fans of acclaimed Canadian singer-songwriter, poet and novelist Leonard Cohen and prolific American composer Philip Glass, including those intrigued by their collaboration, Australian Contemporary Opera Co’s (ACOCo) book of desire (presented in partnership with the Wheeler Centre) is an absorbing, meditative work in which Cohen’s insightful poetry is respectfully colored by Glass’ hypnotic signature music. To a packed house in the marvelous steel and glass framed Edge Theater in Federation Square, it was beautifully performed and sensitively performed.

Leonard Cohen, Sangria Nez. Image © Mirat Miroğlu

This is not the first time that Glass and Cohen book of desire was played in Melbourne. Almost 14 years ago, it was programmed by the Melbourne International Arts Festival, a fairly recent work at the time having only been premiered a little over a year earlier, in June 2007, in Toronto.

When Cohen shared an early draft of his collection of poems during a meeting with Glass a few years earlier, the idea was born to set a selection of them to music and imagery. The result is a nearly 90-minute continuous performance incorporating poetry reading, with four artists singing the majority of the work, from vocal solos to quartets, alongside eight musicians with featured solos.

ACOCo Artistic Director Linda Thompson allows the work to speak for itself, carefully avoiding any fanciful concept to interfere with the poetry. For this, Thompson has assembled a talented cast while incorporating five talented young artists from ACOCo – Caitlin Toohey, Genevieve Droppert, Alexandra Amerides, Callum Andreas and Daniel Felton – who add subtle touches of variation to the overall mix.

Melbourne-based British-born actor Richard Piper is a card to play as the voice of Cohen. Piper is perfect for landing Cohen’s poetry with seemingly grounded wisdom and a wry tone. Commanding, smoky-voiced and a splendid match for Cohen, Piper arrives on stage – where the actors are already seated haphazardly in position with their own copy of book of desire – to sit on a park bench. What one would expect from the more than 20 poems spanning an assortment of themes that include romantic longing, witty self-parody, and spiritual striving, was that Piper and the spoken word would have a slightly bigger.

Nevertheless, the word remains central, both treated with reverence by Glass’s moving music and as part of a minimalist staging featuring little more than a hanging screen displaying page after page of the poems, with drawings sequentially taken from scratch and annotations that highlight or condense a thought. . In sum, Alice Edy’s visuals are a soothing and gentle accompaniment.

The entire cast, including the musicians, are elegantly dressed in black with white reserved for the two female soloists, soprano Emily Burke and mezzo-soprano Dimity Shepherd. All are barefoot, as if they were disciples, perhaps trying to hear the words directly rooted in life experience. Either way, it says something raw about poetic honesty.

Highlights include Shepherd bringing his elegantly dark vocal assets to good use of character in Boogie Street. Burke’s penetrating splendor is introduced in They likewhich she shares with the suave and resonant baritone Christopher Tonkin, and the robust tenor Martin Buckingham arouse great expressiveness with How much I love you. Along the way, the vocals ring emotionally and the ensemble moves sparingly as Glass weaves the vocals among recurring musical themes that nestle favorably with the poetry, using compositional techniques true to his enigmatic style. By the Dark River (Babylon) and The Unfaithful Wife (The Night of Santiago) are two jewels of this fusion.

Featured instrumental solos and performance highlights from Susannah Ng (violin), Imogen Manins (cello), Nic Synot (double bass) and Stuart Byrne (saxophone) provide occasional tender breathing space between poems. But there comes a time when saturation levels seem to be reached – the heavy tempo of thousand kisses could very well have benefited greatly from the use of the natural voice alone. Nonetheless, conductor Carlo Antonioli delivered a pleasingly cemented musical landscape overall.

Originally planned as a one-off performance, which quickly sold out, ACOCo’s The Book of Desire heads into a second night to bathe an avid audience in poetry and music in a rich, contemplative and witty form. And, no doubt, a good discussion will follow.

The Australian Contemporary Opera Co performs book of desire May 14 at 8 p.m.

Day 1 of ‘Don’ Box Office Collection: College Drama Becomes Sivakarthikeyan’s Second Best Collection on Opening Day | Tamil Cinema News Sat, 14 May 2022 05:34:00 +0000 Sivakarthikeyan’s “Don” was released yesterday, and the film received positive reviews from the first show. The positive talk for the film boosted subsequent shows, and the film got a decent occupancy even on a working day. Now, the latest update on Day 1 of the “Don” box office collection is that the college drama has become Sivakarthikeyan’s second-best collection on opening day. “Don” kicked off its theatrical run with morning shows across locations, and the film also had several overseas premieres. The Sivakarthikeyan star reportedly grossed nearly Rs 13 crore in total to become the actor’s second-best first day collection after 2018 action drama ‘Seema Raja’.

The creators of “Don” were keen not to create hype for the film and kept expectations to an average with appropriate updates. This idea added power to the movie because it’s more entertaining than expected, and fans enjoyed the movie everywhere. The Saturday and Sunday collections of “Don” are expected to be higher than the Day 1 collection, and bookings for the film are sold out in several locations.

“Don” was released on over 600 screens in Tamil Nadu, while the WW screen count for the film is around 900. Sivakarthikeyan and Priyanka Mohan star in Cibi director Chakravarthy, and the film has also SJ Suryah, Soori, Samuthirakani, Sivaangi and RJ Vijay in pivotal roles. Anirudh Ravichander scored the music and he delivered the best as he always does.

Power of the Arts | CMUnow Fri, 13 May 2022 20:07:12 +0000

Investing in the future of performing arts in Western Colorado begins with rebuilding the Robinson Theater to create a regional cultural destination

University of Colorado Mesa The William S. Robinson Theater can be moody and quirky – always warm and welcoming, sometimes squeaky and grumpy. It has its moans and moans, its quirks and idiosyncrasies, and so many stories to tell.

Since 1968, the Robinson Theatre, housed in the Moss Performing Arts Center, has hosted generations of music, theater and dance students, and sold out productions in its 600-seat auditorium. After more than half a century, it’s time to move up a gear.

A rich history

The original structure, the Walter Walker Fine Arts Center, was built in 1968 and 1969 at a cost of $865,000. Thirty percent of the money was raised by the university and the rest came from state and federal funds.

The Mesa Home of Art, Drama, Music, Fine Arts, and Speech Majors was dedicated on November 21, 1969, in a ceremony in which Justice of the Supreme Court of USA Byron “Whizzer” White was the keynote speaker and was baptized with a production by Thornton Wilder The skin of our teeth, featuring actress Eulalie Noble, an off-Broadway star. Mesa students paid 25 cents for their tickets and community members were charged $1.

The play was directed by the late William (Bill) Robinson – the beloved performing arts teacher who gave the theater its name in the 1992-93 school year.

In November 2002, the Walker Fine Arts Center was remodeled, expanded, and renamed the Moss Performing Arts Center, in honor of CMU benefactors John and Angie Moss. Fine arts students at the university moved the same year to a new building, now known as the Jac Kephart Fine Arts Building. Additional upgrades to the Moss Performing Arts Center were made in 2009 and 2012, including the addition of the Music Wing, Dance Studio, and Costume Shop.

“It is a structure that has been well used and much appreciated. But the reality is it’s time for us to modernize,” said CMU President John Marshall.

Marshall believes a strong performing arts program at a university can play a crucial role in the well-being of the surrounding region and stressed that Grand Junction and the West Rim need such benefits. He has also seen the arts help bridge cultural and urban-rural divides in addition to preparing students for future success.

He reiterated the power of the arts during a presentation last December to lawmakers on the state capital development committee for $39 million to help cover part of the cost of replacing the Robinson with a larger theater and ultramodern compatible with current standards. for theaters.

“We are quite optimistic about our ability to bring this facility into the 21st century,” Marshall said.

Additional dollars will be needed to complete the project, Marshall said, but the university will cover any balance through various fundraising initiatives, most of which will be led by the CMU Foundation, which it has done in the past.

Ready for retirement

A teardown of the current Robinson Theater and construction of a brand new facility is long overdue for multiple reasons, according to those who use the space every day.

Theater Department Head Maurice “Mo” LaMée was impressed when he first saw theater as a young student at Evergreen High School, Class of 1981.

“I’m sure that was one of the highlights of the campus 54 years ago when it was built. But when I came to CMU (as a faculty member), I think what horrified me the most was the acoustics,” LaMée said. “It’s a difficult space, partly because the heating, ventilation and air conditioning system is quite old. It’s very noisy at best and still takes a lot of work to overcome.

But the auditorium was likely designed more for theater than music, said Darin Kamstra, 18-year-old faculty member and head of CMU’s music department. Kamstra was the principal timpanist of the Greeley Philharmonic Orchestra and performed with professional orchestras, jazz bands and musical theater companies throughout Colorado, Illinois and the Pacific Northwest.

“The new building will likely be a lyric theater with full theatrical lighting, backstage technical support and the ability to accommodate a wide range of musical performances – from a symphony to a rock band,” Kamstra said.

The new facility is expected to become a permanent home for the Grand Junction Symphony Orchestra, Marshall told state lawmakers at their December meeting.

In its current state, the theater is unwelcoming to orchestras.

“Our [orchestra] the pit is very uncomfortable, very limited in size and without good access,” Kamstra said.

And in recent years, the pit has inexplicably filled with water, a frustration that has forced the postponement or cancellation of many shows.

“It’s a shocking moment: you’re getting ready for a show and you hear someone say, ‘Hey, your pit is full of water,'” said Lauren Knight, a junior majoring in design and technology ( which puts her behind the scenes), and acting and directing. “And if something goes wrong, we are often unlucky. A flood in the pit can immediately ruin a production.”

The new theater would feature a pit that can be raised, lowered, or moved with hydraulics, allowing an orchestra for some performances and more stage space for others.

The Robinson also has other flaws, some visible, others hidden from the public, including the building’s antiquated electrical system which is reputedly quirky.

“If you’re a tech, you’ll probably notice that all the wiring in the building is 50 years old, but I think at times we felt like the late Bill Robinson was playing tricks on us,” Kamstra said. CMU’s theater community often jokes about poltergeists whenever something in the archaic infrastructure goes haywire.

The backstage area is insufficient for dressing rooms, rehearsals, storage, technical staff and large castings. These issues not only challenge CMU’s performing arts community, but also make the venue unsuitable for touring shows – comedians, rock bands, dance troupes – a limitation that negatively impacts the entire CMU community. western Colorado.

Regional asset

“There really isn’t a space within 150 miles of Grand Junction like the one that’s envisioned here,” LaMée said.

This fact, according to the president, is one of the main reasons he thinks Colorado lawmakers should approve funding for the project.

“It’s one thing to build a college theater — it’s another to build an asset for an entire region,” Marshall said. “We would put a flag in the ground that would help bridge the gap between rural and urban, left and right, black and white…we really see this theater as an important part of that.”

The capacity of the new theater has been tentatively considered at 800-900 seats, an ideal size, according to preliminary studies commissioned by the university.

“Our analysis tells us that, in the performing arts sector, there is a sweet spot in terms of the ability to bring in outdoor shows traveling between Denver and Salt Lake City,” Marshall said. “If you go way over 900 seats, your efficiency starts to drop. If you go below 900, it’s the same problem.

A new theater is also likely to become an important asset for student recruitment to CMU and the Grande Vallée, not only because it would improve the quality of life on campus with its entertainment value, but also as an attraction. for students interested in the performing arts. The latter is a crucial consideration, as several universities along Colorado’s range front have recently built new theaters.

“I did some recruiting in Texas, where a lot of high schools have better theater spaces than we do—so the Robinson Theater isn’t a big attraction,” LaMée said. “I think a new theater will make a huge difference.”

Bridging the divides

The performing arts have traditionally been a magnet for diversity, attracting people of all colors and nationalities, income levels, gender identities, cultural backgrounds and political leanings. .

LaMée said he ran a theater in a remote, ultra-conservative area of ​​southwestern Colorado, where he witnessed the impact of the performing arts firsthand.

“People there were isolated, almost scared of people who were different from them,” he recalls. “We did all kinds of events, but our improv group seemed really popular. People could come for an hour, have a beer, laugh and have fun.

“That’s where I really saw the power of the arts — bringing people together who otherwise might not choose to be in the same room,” LaMée said. “They were able to have a shared experience that was connective and healing, and emotionally and spiritually beneficial.”

Kamstra says music has the same kind of unifying effect on a diverse population.

“Clearly music is something that can bring us all together,” he said. “Politics and ideologies have no real place in this performance space.”

Diversity might be why LaMée was drawn to theater in the first place, he said, and it’s one of the main reasons his passion for the performing arts grew as that he has matured.

“I watched Darin perform with the symphony the other night, and it was clearly a place where your ideologies and beliefs didn’t matter,” he said. “It’s a place where we can have a shared experience that transcends those things.”

A new performing arts theater will better prepare students for their careers, help bridge cultural and urban-rural divides, and be a regional asset making CMU a premier cultural arts center in western Colorado .

A funding decision is expected from the state legislature in March or April.


Written by Dennis Taylor