Category: Art & Theater

Glimpse in Concord readies new show

By Michael Witthaus
mwitthaus@hippopress.com

For its inaugural show in February 2024, Glimpse Gallery featured four artists hailing from the South, along with two New Hampshire painters and another from Vermont. Glimpse owner Meme Exum always intended for the space, tucked down an alley by the Capitol Building in Concord, to reflect her home region, but knew it would take time.

A little over a year later the seeds Exum and curator Christine Landry-Boullion planted to entice New England artists and buyers to Glimpse are coming to fruition.

“The trajectory’s been just straight up, positive, wonderful,” Exum said recently. “I now have a lot of folks submitting their work, and it’s giving me more flexibility with how I can create the shows.”

The choice provided by a deep well of talent allows for shows weighted between up-and-comers and established artists like Robin Whitney Fairclough, who anchored a successful show in October. It also allows for thematic balance, as with an upcoming exhibit of seven New England artists that includes the colorful abstracts of Rosie Wolf Williams alongside darker works by Talia Dinger. Williams’ paintings suggest prairie impressionism, such as the colorful movement in “Breaking Free” and “Lion and the Mouse,” an Aesop’s fable-inspired piece glowing with childlike energy.

Dinger’s mixed media works focus on monochromatic subjects and explore topics like alienation in “I’ll Miss You” and the frailty of hope in “Holding On To You,” which depicts a person hanging by a thread over a pool of lava or something equally threatening. Her three-dimensional pieces are particularly impressive, such as “Out of Time,” an eyeball-shaped, working clock spilling an acrylic tear, and the abstract chest X-ray, “Golden.”

Matthew McCain uses gray scale and shadow compellingly in “If You Go, I’ll Stay,” a foreboding work depicting either an interrogation or an illuminating moment. The main subject’s posture is ambiguous; the artist leaves interpretation up to the viewer.

“I love how people can see different things while looking at the same image, and I really try to exploit that in my artwork as much as possible,” McCain writes in his bio.

A few of McCain’s pieces are adorned with butterflies to convey nostalgia for a bygone time. Similarly whimsical are the line and circle drawings of Amy Moffett. Their simplicity is underscored by her creative process; each is begun with eyes closed, so Moffett can feel the shapes before seeing them. The works are colorful and affordable — all cost under $100.

Mark Ruddy has shown at the Glimpse Gallery before, but as with other shows, this exhibit will feature all new works.

“Every time it has to be completely different, because I don’t want people to see the same thing ever,” Exum said. “Every show has to be its own new art and the energy that it carries.”

A series of three Ruddy paintings is hung for the upcoming show. Two are of vintage pugilists, arranged around a close-up of the recently renamed Gulf of Mexico on a map. Each picture is covered with multicolored polka dots, a motif he’s used in other works to juxtapose a serious subject with something lighter.

Brenda Wilbert is both a mixed media and fine art digital artist. “A Moment of Bliss,” a treated photograph of a woman in a river drinking water from her hand, is an example of the latter. Her riotous collages employ a wide range of textures and colors, from metallic pen lines to painted fabric, watercolors and ink to stunning effect.

The works of Lakes Region artist Benjamin Archibald are a blend of realistic portraits of wildlife, such as the peacock in “Glory,” along with patterned portraits done for charity. For the latter, donors purchase one or more fingerprint spots on a piece like “Heliosa,” which welcomes patrons at Glimpse’s entryway.

“I love what he’s doing,” Exum said. “He’s taking his art to this level where he’s making it a communal process… .”

Glimpse Gallery April/May show opening reception

When: Saturday, April 12, 5-7 p.m.
Where: Glimpse Gallery, 4 Park St. (Patriot Building), Concord
RSVP: contact@theglimpsegallery.com

Featured photo: Courtesy photo.

Klezmer Conservatory Band in Concord

By Michael Witthaus

mwitthaus@hippopress.com

The lively folk song “Hava Nagila” is a staple at Jewish weddings and other celebrations, but when Hankus Netsky started the Klezmer Conservatory Band it was part of a very niche musical tradition that carried on mostly in synagogues. Netsky decided to change that. Surprisingly his inspiration was an Irish musician.

Nearly five decades later, his group is credited with reviving klezmer music for modern audiences, making several albums and performing around the world. Their music has been in films, including one narrated by the late Robin Williams, and they’ve worked with many musicians, including an ongoing collaboration with Itzhak Perlman.

The last one happened after Netsky lured a reluctant Perlman into a jam session — more on that later.

An April 6 show at Concord’s City Auditorium will be special, with the full Klezmer Conservatory Band on stage, Netsky shared in a recent phone interview.

“We need to give a little present to New Hampshire,” he said, noting that their last time in Concord, “we came with a small group … we didn’t even have a trumpet player.”

Netsky came to New England Conservatory as a student in 1973. Five years later he was hired by the school’s Third Stream Department. The name came from NEC President Gunther Schuller, who felt that much contemporary music resulted from mingling “streams” of classical and jazz.

Schuller, Netsky said by phone recently, “felt very strongly that he couldn’t possibly talk about the 20th century of music without looking at the works of Ellington, James B. Johnson, Louis Armstrong, etc.” Netsky saw a role for Jewish music from the Ashkenazi communities of Ukraine, Romania and other Eastern European countries.

There were other tributaries, and as the Third Stream definition broadened, Netsky made klezmer’s case.

When Netsky was studying at NEC, he’d found boxes of klezmer 78s in his uncle’s basement that were once owned by his great-grandfather. He was amazed.

“By then in the Jewish community, the music,” he said, “was very perfunctory.” So he began transferring them to cassette.

The recordings revealed “there was a whole tradition of music that was on a really high level,” he said. “I kind of reinvigorated that stream.” Netsky began sharing them with students when he joined NEC’s faculty. He found common ground with guitarist Mick Moloney, who’d worked to bring long-lost Irish music back to the forefront.

“The real session music was more or less forgotten at that point, and he revived it,” Netsky recalled. “I went to one of his Irish sessions, and I went, ‘Oh! I get it! You have a party, serve some food, and then everybody comes and you teach them the music’; so that’s really what happened. Then one of the students got this idea we should do a concert.”

The young group contributed a three-song set as part of an evening of Jewish music. It was supposed to be a one-off, but in days they had three offers to do full concerts. They sent a tape to Garrison Keillor and quickly received an invitation to appear on his NPR show, A Prairie Home Companion, the next time it stopped in Boston.

From that point on, they’ve led a resurgence of the once moribund tradition, appearing everywhere, from synagogues to Carnegie Hall. They’ve spawned other bands as well; the genre-bending Klezmatics, founded during the mid-1980s in New York City, includes KCB founding member Frank London.

Then there are the many collaborations, the most famous with Perlman. It began haltingly, however, after an attempt at melding his legendary violin talents with jazz players like Oscar Peterson left him, according to many, dissatisfied. When a rep from NPR’s Great Performances contacted Netsky about Perlman’s interest in klezmer, she offered caution.

“He felt kind of burned by this jazz project,” he recalled her saying. “He just wants to learn about the music, but he doesn’t feel like he’s going to be ready to play it. Your job is to get him to take his violin out and feel good about what he’s doing.” Netsky knew there were certain songs that Perlman would have listened to as a young child in Israel, so he began with those. Perlman, his interest piqued, took out his violin and joined in. Mission accomplished.

“Then we started playing more serious klezmer music,” Netsky continued. “He recognized the tunes, and, again, right away he was playing along. Then we started going around the band, having people improvise, and then he improvised. He realized right away that this actually was something he wanted to do.”

Klezmer Conservatory Band

When: Sunday, April 6, 2 p.m.
Where: Concord City Auditorium, 2 Prince St., Concord
Tickets: $23 at eventbrite.com

Featured photo: Courtesy photo.

Symphony NH conductor shortlist announced

By Michael Witthaus

mwitthaus@hippopress.com

The search for Symphony New Hampshire’s next Music Director, reported in a March 6 Hippo cover story, has led to the selection of five finalists, each of whom will present their vision for the state’s premier orchestra over the course of next season.

Over the 2025-26 season, each finalist will curate and conduct a concert. In addition, finalists will engage with the public at meet-and-greet events across the state. Audience members will provide feedback through post-concert surveys.

The search was driven by a desire to select a Music Director who was already a New Englander, and all of the candidates live at least a reasonable drive from the New Hampshire border. One, Filippo Ciabatti, is a resident of the Upper Valley.

“We believe having an artistic leader embedded in New Hampshire’s cultural fabric will shape our programming and community engagement,” SNH Executive Director said in a recent press release announcing the candidates.

Here’s a look at the conductors vying for the job of Symphony New Hampshire’s Music Director.

Adam Kerry Boyles holds three current positions: Assistant Conductor of the Hartford Symphony, Director of Orchestras at MIT, and the Brookline Symphony Orchestra’s Music Director Emeritus. Last year, he stepped in for Keith Lockhart at the Boston Pops, after several years as cover conductor.

Boyles has worked with other artists across multiple genres, including James Taylor and Doc Severinsen, as well as groups like Cirque de la Symphonie and Aardvark Jazz Ensemble. He’s also a singer who’s performed in operas and had leading roles in musical theater productions like Little Shop of Horrors.

Taiwanese-American conductor Tiffany Chang’s credits include nine years as Music Director of Boston’s NEMPAC Opera Project. She’s been engaged as a conductor by the Washington National Opera, Lyric Opera of Chicago, Portland Opera, and Minnesota Opera.

Chang is the author of Conductor as CEO, a blog aimed at facilitating growth for conductors, arts leaders and musicians. “My mission,” she writes, “is to help musicians feel more valued, seen, and fulfilled.” Since 2013 she’s served as an Associate Professor at Berklee College of Music.

Filippo Ciabatti currently leads the Dartmouth Symphony Orchestra. The Florence, Italy, native was named Assistant Conductor of Boston Baroque in 2023, the first such appointment in their 50-year history. He also founded Upper Valley Baroque, a professional orchestral and choral ensemble.

The well-rounded Ciabatti is also the Music Director of the Opera Company of Middlebury, where he debuted in June 2023, leading a production of Fidelio. He’s also conducted productions with Opera North in Lebanon, and the Lyric Theatre at Illinois.

Jotaro Nakano conducts the Longwood Symphony Orchestra in Boston, which serves the city’s health care and medical communities. As part of his association with Longwood, he also leads the Healing Art of Music Program, which assists with fundraising for local nonprofit organizations.

Nakano, a Japanese-American, has shared the stage with musicians in Mexico — he’s Musical Director of the SA’Oaxaca Strings International Music Festival Orchestra, a tuition-free chamber string music festival. He’s also toured in the Czech Republic, in Romania and all across the United States.

Tianhui Ng has been called “one of the most sought-after interpreters of new music in the United States.” As Music Director of the Massachusetts International Festival of the Arts’ Victory Players, Ng has led performances on public radio and television and toured in Puerto Rico and Illinois.

Ng is Music Director of White Snake Projects, when’s he’s led more than 50 premieres, including Jacobs and Sosa’s Alice in the Pandemic, a production selected by the Library of Congress for their special collection of the most significant works of art during the pandemic.

SNH’s Executive Director Hoying expressed her approval of the selection committee, led by search professional (and former SNH Operations Director) Nick Adams. It began with 30 applications that were narrowed to 20 semi-finalists; 10 advanced to the interview stage.

“Each of these conductors brings remarkable expertise and vision,” Hoying said of the five in the March 19 press release. “Now, it’s about how they engage with our musicians, audience, and the broader community.”

Featured photo: Courtesy photo.

NH Jewish Film Festival opens

This year’s New Hampshire Jewish Film Festival, opening March 23 at the Rex Theatre in Manchester, offers a rich and varied slate of 15 movies. It’s also very much a statewide endeavor, with seven cities hosting screenings. In addition, more than half of the offerings will be available online.

The documentary Janis Ian: Breaking Silence will be both screened and streamed, followed by a Zoom discussion with director Varda Bar-Kar. Ian was a teenager in the mid-1960s when she released the controversial “Society’s Child,” and charted a decade later with “At Seventeen.” Along the way she worked with everyone from Jimi Hendrix to Dolly Parton.

One of the most eagerly anticipated films is Bad Shabbos, a comedy about a newly engaged couple’s Jewish and Catholic parents meeting for the first time over a dinner gone terribly wrong. With a cast including Kyra Sedgwick, David Paymer and Cliff “Method Man” Smith, it won the Audience Award at last year’s Tribeca Film Festival.

“That’s definitely the one that people are going to leave talking about,” steering committee member Zachary Cemenker said in a joint interview with festival chair Pat Kalik, who added, “that’s why we’re closing the festival with that one; it’s our final film.”

Max Dagan, from Nashua director Terre Weisman, will be shown on Thursday, April 3, at Concord’s Red River Theatres, and Weisman will participate in a discussion after. The film is about a prison inmate who is dying of a brain tumor, his son’s efforts to free him with a compassionate release, and the past that’s revealed in the process.

“I explore themes of tragedy and loss, and how one’s natural talents and strengths can empower an individual toward healing and redemption,” Weisman wrote on the nofilmschool website when Max Dugan was screened as the prestigious Closing Night Film at last year’s Dances With Films festival.

Two films released just this year are also among the most hard-hitting.

October H8te, from executive producer Debra Messing, is a documentary about anti-Semitism in the wake of the October 7, 2023, Hamas attacks in Israel. Soda explores a relationship between a Jewish man and a woman suspected of being a capo for the Germans during the Holocaust, and its effect on a small village with war still a fresh memory.

With films about Beatles manager Brian Epstein (Midas Man), a former U.S. Senator (Centered: Joe Lieberman), and even an animated feature from the 1990s (Prince of Egypt, chosen to coincide with Passover), there’s a little bit of everything for everyone, with offerings coming from all across the world.

There’s an effort to draw from both U.S.-based and foreign distributors. “That way there’s a variety of films that aren’t all subtitled,” Cemenker said. Beyond that, “we try to balance where they’re from, and the content in them, so that they’re not all World War II or Holocaust-driven [and] they’re not all about Israel or the Middle East. We have a variety of criteria.”

One film that checks more than a few boxes is Running on Sand. It’s a comedy of mistaken identity that also deals with the hot-button issue of immigration. In it, a man about to be deported from Israel runs from officials at an airport, only to be mistaken for a star soccer player arriving to play for the local team.

The Joe Lieberman documentary will be shown on the festival’s final day of theater screenings, followed by a pre-recorded conversation with director Jonathan Gruber. It’s part of a dual program including Darren Garnick’s short film Righting A Wrong: The Bialystok Cemetery Restoration Project.

Garnick was a longtime festival volunteer who passed away last autumn. “We are showing that film in his memory and in his honor,” Kalik said. “We wanted to do it on the last day.”

The festival is a program of the Jewish Federation of New Hampshire and is also sponsored, in part, by the New Hampshire State Council on the Arts.

17th Annual New Hampshire Jewish Film Festival
When: Sunday, March 23, through Sunday, April 6 (Streaming Bonus Week April 6-11)
Where: Locations in Manchester, Concord, Merrimack, Hooksett, Portsmouth, Hanover and Keene
More: Full schedule and tickets at nhjewishfilmfestival.com
Opening reception Sunday, March 23, at noon, Spotlight Room at the Palace, 96 Hanover St., Manchester ($16) prior to the 2 p.m. screening of Shari & Lamb Chop at the Rex Theatre, 23 Amherst St., Manchester ($12).

Featured photo: Bad Shabbos

Gastrobrewery hosts dinner and storytelling

“Sean’s Red Scarf” is a playful story about a greedy man who lets a leprechaun fool him into opening an accessory shop. Simon Brooks has been spinning such tales for more than 30 years, and it may be among those he’ll tell after a dinner at a Nashua gastrobrewery hosting the latest in its Legends & Lore storytelling series.

Or maybe, Brooks said recently, it’ll be a darker yarn.

“A lot of people think that folk and fairy tales are mostly for kids, but when you actually listen to a lot of them they’re really deep.” he said. For example, “The Lonely Boat Man” is about using imagination as a defense against life’s hardships, with an ending that lands differently depending on the listener.

In it, a fisherman named Hagen runs from a socially awkward moment; all the guests at a public dinner have been asked to perform for their share, and his entertainment skills are nonexistent. Outside, he finds a beautiful woman in need of a boat ride to her home. He obliges, and falls in love along the way to the mysterious island where she lives.

In Brooks’ capable hands, the Scottish folk tale, also called “The Fairy Bride,” is magical, its denouement both beautiful and devastating. Hagen’s escape is redemptive and life-affirming, even after things change and he’s once again alone, with the memory of brief happiness the only salve for a solitary existence. However, he now has a story to tell.

Just the basic bones are provided here, so as not to spoil it for anyone who’d like to hear the whole tale on Brooks’ website (diamondscree.com).

Brooks has appeared frequently at the Nashua venue, and the upcoming St. Patrick’s Day event will be his third one there.

“It’s one that both Rambling House and I get very excited about,” he said. “I have Irish ancestry, and so I tell mostly Irish stories. There might be a Scottish or Welsh story thrown in because it’s Celtic.”

The evening will include a farm-to-table meal with an Emerald Isle feel — “the chef is absolutely incredible, it’s some of the best-tasting food I’ve ever had,” Brooks said — followed by dessert and, perhaps, a mug of their Oscar F.O.W. Wilde Nitro Stout. After the tables are cleared, tale-spinning begins.

Rambling House has designated Brooks as the evening’s Seanchaí (pronounced, shan-a-key), described as “a storyteller tasked with keeping alive the Irish myths, folklore and legends that inspire a people. In ancient Ireland, the seanchaí was held in high esteem and would regularly attract large crowds to hear the long-form poems and tales they had to tell.”

Opened in 2012, the Factory Street restaurant is named after the Coosane Rambling House, a rural family home in County Kerry, Ireland, that served as a gathering place for locals to gather and share conversation, song, dance and storytelling. It was a favorite spot of Maurice Gleeson, scion of the family that runs Rambling House and nearby TaleSpinner Brewery.

Born in England, Brooks is well-versed in many storytelling traditions and is vigilant about properly honoring all of them. As he’s keenly aware that his interpretation of a story may not hew exactly to its original telling, he’s careful to understand the cultural norms informing each one.

“I try to [tell a story] as authentically as I possibly can so that I’m not homogenizing it,” Brooks said. To that end, he spent years transforming the anglicized version of a Japanese folk story he’d found in a children’s book into something that felt genuine, even availing a fellow storyteller from Japan to translate websites he couldn’t read.

“She gave me insight into how to tell the story and not Europeanize it, but actually keep it in the way a Japanese storyteller might tell it,” he said. “Having done all this digging and delving, I was able to then tell that story properly, from a place of authenticity, rather than just taking a Japanese story and making it mine.”

Brooks has also written a book aimed at young readers that encourages both children and adults to “take these stories and make them your own … make them relevant to your life experiences and the life that you live. Because that makes it more personal. It makes it way more fun for both the teller and the listener.”

Legends & Lore Storytelling Series: Tales from the Seanchaí
When: Sunday, March 16, 6 p.m. (dinner seatings begin at 4:15 p.m.)
Where: Rambling House Food & Gathering, 57 Factory St., Suite A, Nashua
Tickets: $20/person at ramblingtale.com. Ticket price includes entry to performance and does not include dinner, drinks, or gratuity.
Adult content, not for children.

Featured photo: Simon Brooks. Courtesy photo.

New twist on religious iconography at Currier

The mother-and-child theme has been part of Ann Agee’s art going back to a 1999 porcelain figure recently revived for the Rena Bransten Gallery’s RBG at 50-Focus on Ceramics exhibition in San Francisco. She’s frequently returned to the form, but recently Agee has taken a different approach, making Madonnas with a feminist touch.

“Madonna of the Girl Child” has grown into a significant body of work, and on March 7 the Currier Museum will begin showing five of the largest figures from it. Also on display at the exhibition, running through June 5, are two relief works done in porcelain, welded steel and epoxy resin, “Offering Madonna” and “Donatello Riff Madonna.”

In a recent phone interview Agee said she made the first piece out of curiosity in 2019, then a few more to fight a bout of altitude sickness. Occasionally she’d ask herself why she was focusing on religious icons. It was, she decided, a good way to look at and comment on their inherent oppression.

As she walked through churches on a trip to Italy, the clash between depictions of violence like the crucifixion and the gentle nature of the Madonna got her thinking.

“So many horrific things that were the guides to how to live your life … don’t do that, watch out for this,” she said. “Then you see the Madonna, and it’s … have a child, and everything is peaceful.”

Amidst this warmth and maternal comfort, however, something stark stood out to Agee.

“It’s always a boy child,” she said. “I wanted for myself a Madonna that held a girl child and publicly showed the interest that a mother could have in her. That this child, this girl, could deserve your hopes and dreams in the same way that your boy child could. Slowly, it became a little bit of a campaign.”

The upcoming Currier display is a departure for Agee, who usually displays her Madonnas in groups of mixed sizes. It will be held in the Manchester museum’s Welcome Gallery, which is a space between other spaces.

“There’s a sprawling staircase, it spreads out to both sides, and there are banisters of a different material,” she said. “I decided to keep it really simple, and have the work stand up to all that’s architecturally going on in that room, and the movement of people coming and going.”

The five pieces are the largest ones she’s done, Agee said.

“I’ve enjoyed slowly learning how to make things bigger,” she said. “Last summer I was sitting on someone’s deck and looking out into this grass and I thought, ‘Wouldn’t it be great to just have a big red figure in the grass there?’ So I made one in red, and then I made one in pink.”

She was further inspired by a trip to Boboli Gardens in Florence, Italy. “I was looking at all the white marble sculptures that are in the garden there. They’re not really that big, but they’re one color. There’s all this stuff around them, and they hold their form. That’s basically the shift in these Madonnas, they’re big and they’re a solid color.”

The works, however, further Agee’s “campaign” for a feminist reinterpretation of religious iconography. More than a simple exploration of motherhood, “Madonna of the Girl Child” is a critical commentary on the way these traditional symbols have reinforced gender roles. Agee’s art usurps an image steeped in patriarchal culture.

This shift is a deliberate act of reclaiming this symbol for women. Agee wanted to present a vision where a mother could hold and nurture a girl child with the same devotion and aspirations traditionally reserved for sons. In this new context, the Madonna figure becomes a symbol not just of motherhood but of equality.

Ann Agee: Madonna of the Girl Child
When: Friday, March 7, through Thursday, June 5
Where: Currier Museum of Art, 150 Ash St., Manchester
More: annageestudio.com

Featured photo: “Offering Madonna” by Ann Agee. Courtesy photo.