Exiles on Rodeo Drive

RUSSIAN REFUGEE: The next world-class ensemble brought to our town by the Community Arts Music Association will be the Russian National Orchestra, conducted by its founder and artistic director, Mikhail Pletnev. The orchestra will play a concert in the Arlington on Saturday, March 25, at 8 p.m. The all-Russian program consists of two works by Sergei Rachmaninov-the exquisite Vocalise and the overwhelming Piano Concerto No. 3 in D Minor (with Alexander Mogilevsky, piano soloist), and one work by Peter Tchaikovsky, his Suite No. 3 in G Major, Opus 55. For tickets, call CAMA at 966-4324 or the Arlington at 963-4408.

NATIVE ARTS:

Red Road Studios, the only Native American-owned and -operated art gallery in town, opens its doors in the Funk Zone

Alive and Kicking

George Werier has been a gangster, a banker, and a salesman-and those are just his acting roles. His work in real life is even more varied. Most Santa Barbara residents know “Captain George” Werier from his cable TV show Alive After 65, which is produced for seniors and tackles issues including health, world peace, culture, art, and music. (Having just celebrated his 90th birthday, he jokes he may change the program’s name to Alive After 85.) But his activities go beyond the rigors of putting together a weekly TV show.

Three Q’s with …The Duhk’s Jordan McConnell

It’s not easy to describe an ensemble that looks like a heavy-metal band, touts acoustic instruments, and molds a sound drawn from just about every musical tangent imaginable. But describing The Duhks is a moot point, for the only way to appreciate the dynamics and delight of this Canadian five-piece is to see them live. Having recently returned from Austin-where he accepted two Folk Alliance awards on behalf of the band-guitarist Jordan McConnell offered a little insight into what we can expect when The Duhks close out the current season of Sings Like Hell on Saturday, March 25.

wither jazz?

The notsogood news: What has so far been a strong concert season for worldclass jazz in Santa Barbara-with artists such as Dave Brubeck, McCoy Tyner, the Bad Plus, Chick Corea, and Tierney Sutton-is coming to a premature halt in the spring. Apart from a scattered few shows, including the return of John Pizzarelli, the jazz genre starts its long holiday. Jazz fans in Santa Barbara get spoiled and somewhat deluded into thinking the jazz muse has come to dwell in our town, only to be reminded otherwise. It would appear that she actually just likes to winter here. The good news comes from the worldmusic end of this spring’s concert spectrum.

Alicia Kelley-Leger 1950-2006

On Friday, March 10, the Santa Barbara community lost a consummate nursing professional, Alicia Kelley-Leger. She was the entire package: An administrator who attended countless meetings, oversaw budgets, and supervised hundreds of nurses at Cottage Health System, Alicia also sat by patients’ bedsides, holding hands and offering words of comfort. We will miss Alicia on so many levels-as a leader, colleague, and, most of all, warm and loving friend.

saving the blank brains

The way up to summer is through a dank spring of Hollywood’s blankbrained films, a lot of ridiculous sequels and remakes and-maybe, just maybe-a couple of cool films. Luckily, our own entrepreneurial troupes and university-associated friends will make a difference this season. Start with a Human Rights Film Festival from the folks at UCSB’s Arts & Lectures, sprinkle in a pair of exclusive Santa Barbara premiere rock films from Isla Vista Theater’s Magic Lantern Films (which is organized by this author), toss on a couple of monster movies at the Natural History Museum, and it seems suddenly that The Da Vinci Code (coming in May-don’t worry, you’ll see some ads) can be good or bad, who cares.

Hitting Home

Far Away

Presented by Genesis West. At Center Stage Theater, Saturday, March 18. Shows through April 1.

It’s hard to know what to make of controversial writer Caryl Churchill’s Far Away, the second production in Genesis West’s season at Center Stage. On one hand, the play is a biting satire of war (aimed, one can only suspect, at the conflict in Iraq); on the other, it’s a haunting look at the perils of raising children in a paranoid, trigger-happy society.

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