Kay Bourne Arts Report – Issue #44

September 16th, 2007  |  Published in Kay Bourne Arts Report


by Kay Bourne
386 Kay Bourne Arts Report   Issue #44 Gifted arranger Lance Bryant – who also plays the sax and sings – won the ‘Steppin’ Out’ talent contest in a duel of eager and musically adept vocalists and their bands. The coveted win means he joins the roster of celebrity musicians who’ll perform at 20th annual event benefiting the Dimock Community Health Center in Roxbury.

The worship leader of the Andover Baptist Church and Berklee College of Music graduate, stunned the judges and audience alike, Monday night, September 10, at Scullers with his jazz arrangement of the Civil Rights anthem “We Shall Overcome.”

Interchanging his sax and doing vocals which quoted the Reverend Dr. Martin Luther King, Jr., the “I just want to do God’s will” passage, thrilled listeners. And when he got to the line, “I want you to know tonight that we as a people will get to the Promised Land.” there were sighs and shouts and arms lifted in praise. The meaningful lyrics were supported by a muscular jazz composition. Lance’s second offering, the poignant “The Very Thought of You,” showed his strengths as a balladeer. Bryant‘s sidemen went the distance with him as well: Stanley Swann, drums, Larry Roland, bass, and Carl Reppucci, piano.

None of the contestants came away embarrassed that evening. The other entries were: the energetic Joe Gallo with the well- modulated, sexy voice and powerhouse five-man band including maestro Frank Wilkins on keyboard and Herman Johnson who wallops out vigorous riffs on his soprano sax; Dorchester’s own, Wendy Jones who gave a daring challenge by singing her own intriguing compositions; and jazz vocalist, Pauline Jones who gave a dramatic reading of Nina Simone’s “Four Women.”

A sparkling line-up for “Steppin’ Out At The Emerald Ball” on Saturday, NOVEMBER 3 will feature guitarist/vocalist George Benson. The Westin Boston Waterfront Hotel will also provide the stage for urban music’s Vivian Green, R&B singer Freddie Jackson, jazz pianist Cyrus Chestnut, saxophonist Myanna, the Samurai drumming group Master Tsuji Samurai Taiko, and a host of gospel artists. Back at the popular night is Boston’s R&B party band Motown Express with Wannetta Jackson, Frank Wilkins, Pat Loomis, and Herman Johnson. The bill goes on and on.

Judges of the talent contest were Ruth Ellen Fitch, Dimock president & CEO; Chair of Dimock Board of Directors, Clayton Turnbul; Jeff Turton, host of Sunday Jazz Brunch on WFNXfm; saxophonist and recording artist Andre Ward ; radio and TV personality Coach Willie Maye; and vocalist and Berklee College of Music board member Vivian Male, who is also a star at this year’s “Steppin’ Out.”

The evening also saw the Ronald M. Leavell Award, for combining a love of music with a strong social activism, go to State Rep Gloria L. Fox. A supporter of the arts, she has spent her years as a legislator working on issues, such as health services, that matter to her constituents in the black community.

LANCE BRYANT’s website

by Kay Bourne
387 Kay Bourne Arts Report   Issue #44 The grassy embankment has been cemented over; cars and trucks rumble steadily by on a road that follows the course of the Sumida River, once the historical shogunal hunting grounds that became a favored destination for pleasure seekers. Who would guess what had once been there?

The new exhibit of ukiyo-e paintings at the Museum of Fine Arts, Boston give rise to thoughts of the ephemeral nature of even huge cities – and how artists preserve the past for us in glorious ways. Not one of the scenes of places in “the floating world” still exists, except in the magnificent paintings on scrolls that make up “Drama and Desire: Japanese Paintings from the Floating World 1690-1850″ which opened August 28.

In 1603, Edo (modern-day Toyko) was established as the military capital from which the shogun government governed Japan. Celebrated as the “castle town under heaven,” the city had its quarters devoted to pleasure and its excursion sites.

The blossoming of the magnificent cherry trees that drew Edo citizenry to stroll the riverside is a bit of cultural history that might have been obliterated by modern Tokyo urban blight were it not for the ukiyo-e painting on scrolls of “the floating world,” such as the panoramic “Pleasure Outing at Mukojima to View Cherry Blossoms” by Utagawa Toyoharu (1735-1814). Some of the fashionably dressed merry-makers appear a little tipsy as they meander past Kasai Taro, a celebrated restaurant of the time, while in the distance a more sedate procession of a powerful feudal ruler’s wife and her entourage slowly make their way along the embankment.

Ukiyo-e is Japanese for “pictures of the floating world.” An art form that recorded life’s pleasures in Edo, these watercolors on silk, cotton, and paper, were works commissioned by private collectors who brought the picturesque, sometimes erotic, scrolls out as entertainment when guests came to the house. They are exquisitely rendered depictions of theaters, brothels, samurais, kabuki actors (men playing all the roles, male and female), musicians, favorite meeting spots – all sorts of sensual delights, from a series of fantasy inducing scrolls known as shunga of explicit sexual congress (“Erotic Contest of Flowers” by Torii Kiyonobu, 1664 – 1729) to the more subtly sensual, of a women picking flowers in the early morning, the skin of her arm visible through her robe (“Woman Picking Morning Glories” by Miya Shunsui, active about early 1740s – early 1760s). Because of their size and fragility, and sensitivity to light, some of the scrolls will be rotated midway through the length of the show.

The recently opened “Drama and Desire: Japanese Paintings from the Floating World 1690-1850″ splendidly curated by Anna Nishimura Morse continues at the Museum of Fine Arts through DECEMBER 16 in the Torf Gallery. You will feel as if you were walking back into those times, through the magic of the art and through exhibition designer Tomomi Itakura‘s construction of wood slatted barriers as you enter alcoves: you peer in-between the blinds, as a resident of Edo would have to see passerbys. It’s your first view of a scroll before you go up close for the details. “I went back to my blinds and screen s and thin walled rooms” writes the love sick narrator of a novel set in long ago Japan.

The MFA’s exhibit of 83 works, culled from their extensive collection of 700 paintings (the largest collection of ukiyo-e paintings in the world), presents works that haven’t been on public view in Boston since 1892. (When Morse made her selections for the exhibit she was given the keys to the storage space set aside for the erotica which had been locked away from the other works.) Curator Morse notes that Boston has the only collection in the world that includes paintings by all the major ukiyo-e artists. Unlike woodblock prints, which were produced under the direction of a publisher, these paintings allow the viewer to come into direct contact with the hand of the artist.” The MFA fell heir to these works thanks to William Sturgis Bigelow, a Boston physician who lived in Japan and who donated most of the works to the museum.

The show is divided into five sections, one more luscious than the next. Theater-goers may be particularly fascinated by the Early Ukiyo-e: 1690-1765, which in addition to a pair of six-panel folding screens depicting a lively troupe of Kabuki actors, also spotlights five theater signboards the size of large doorways with celebrated actors shown in dramatic poses from particular Kabuki plays. It’s extraordinary to have these posters as they were typically tossed out after the show had completed its run; there are only a few others extant in the world.

The works of all major ukiyo-e masters – including Hokusai, Utamaro, and Hiroshige – are part of the screens, scrolls, banners, and theatrical signboards making up the delectable “Drama and Desire: Japanese Paintings from the Floating World 1690-1850.”

MFA – Drama and Desire website

By Kay Bourne
(pictured: Cast of Zanna, with STEPHANIE UMOH in the center with the glasses)

389 Kay Bourne Arts Report   Issue #44 “Go West young man!” is the cliché recipe for success; for Stephanie Umoh, the opposite has been true. As a mere freshman at Boston Conservatory, the Texas native landed the lead in New Rep’s production of the musical “Ragtime” and it’s been show after show ever since.

In a recent phone conversation, Umoh said being cast as Sarah took her by surprise. “I went for the experience of trying out in professional theater,” she recalls. She was invited for a call-back. “I was flabberghasted!” she admits. She was given the role that very day. “I was shocked. I ran out of the theater and called my mom. It was big because I wasn’t expecting it.” She did a second show at the Watertown theater “Make Them Hear You: The Songs of Ahrens & Flaherty,” followed by the lead in SpeakEasy’s production of “The Bubbly Black Girl Sheds Her Chameleon Skin” directed by Jacqui Parker at the Boston Center for the Arts.

As Umoh enters her senior year, she’s again in a SpeakEasy production, the New England premiere of the Off Broadway musical “ZANNA DON’T.” The off beat story-line is set in an alternative universe where gay is the norm. Umoh as Kate upsets the applecart when she falls in love with a young man. Nominated for both a Lortel and a Drama Desk Award for Best Off-Broadway musical, the show features a high octane pop score tinged with funk, rock, and R& B.

Umoh has already determined that following graduation she will try her luck in New York. “It’s very expensive and a large city. I don’t want to get lost,” she said. “But I’ve decided that while I’m young, I should go ahead and just do it.”

“It is scary, but Boston is familiar to me at this point and Boston’s close enough so I can come back. I love Boston and the arts here are amazing, but I want to see what else is out there,” she said. Umoh will get an apartment with her current Boston Conservatory roommate who is also from Texas, although they met at school. “The two of us are the only Black females in the class, and she’s my best friend, as well. I lucked out.”

Umoh, who is the youngest of three children, grew up in Lewisville, a suburb of Dallas. Her father is Nigerian born who came to this country to study business and business management; her mother is from Illinois, the couple met in college.

This Christmas, Umoh will visit her father’s birthplace for the very first time. “I am going to Lagos. I am very excited about that,” she said. “I think it could be life changing.”

Official website of Speakeasy Stage Company

by Steve Hemeningway
390 Kay Bourne Arts Report   Issue #44 The Boston Blues Festival Legends Revival which spread out at the Somerville Theater on Saturday, August 25, 2007 was not what I thought it was going to be like. True, there was that gaggle of White blues performers sneaking into their sixties attempting to replicate the ‘hurt’ and injustice Black folk have endured through centuries; there was the young White female chanteuse who couldn’t get to Bessie Smith but would settle for Janis Joplin, there were the ancient Black legends that are always brought in to authenticate the evening and justify the ticket price, and there was the mostly White audience, faithful to the last, even though most of them didn’t know the difference between delta blues and swamp stomp but whooped it up anyhow as if they were at a high school graduation. All of the elements I dislike were there that have always smacked me in the face when I take in a blues festivals or events in New England. Yet, there was a new spirit that grabbed me at that August concert, a spirit that will definitely get you, as well, when you hear the Blues Trust Production’s just released CD of past live performances: Boston Blues Festival Vol. II.

This is the spirit you can’t describe, but you got to hear. From David Maxwell‘s long fingers trained on Chopin but striding Fats Waller back parlor piano, to pudgy Sugar Ray surrounded by his Bluetones squawking his harp on “Lonesome Cabin Blues” you will hear the desperation slip out now and then that whispers to you that they know what they are playing. It has nothing to do with race or age or gender. It is the motif of living, the life of struggle. And it’s not just like changing the name of the genre from ‘The Blues’ to ‘The Dues’. It has to do with ‘truth’. That Saturday night, when vocalist Lydia Warren kicked off her shoes, you had the feeling it wasn’t because she wanted to get down before she entered her trademark “Don’t Need No”, it was because her feet hurt that spoke to me more than all the chords she could slide. Even when Louisiana Red hooked up with “Cotton Pick’ Blues” the musicians backing him and even his own vocal chords seemed to become paralyzed with the images of his father being tortured by the KKK. Don’t get me wrong. No one of that stage was into the gospel of sadness. When they brought the ancients out, Honeyboy Edwards and Lazy Lester, hope became an infectious thing. After all, those two are like fathers escaping the Windy City periodically to see how their Beantown chil’n are doing. Honeyboy is way over ninety and Lazy Lester, well into his seventies, and they are almost the last of those bricklayers that worked on the foundation of America’s must enduring musical form. Honeyboy traded women and guitars with the great Robert Johnson in the Delta, and Lazy Lester, bucked the tide of progressive jazz and reinvented a zydeco tinted blues called ‘Swamp’. When Lazy Lester shared his volumes in “Sad, Sad City”, not a breath escaped from his harp that didn’t hit a tear. When Honeyboy, sporting a wide brim hat and an acoustic guitar came on stage, it was a testimony in itself. He was handed a piece of note paper that probably contained his number selection but he just chucked it to the floor, closed his eyes as if he was squatting at that deep Southern crossroads where it is told Robert Johnson met the Devil and traded his soul for greatness, and warbled his testimonies.

I hope the audience caught the quiet nuances that the old Black performers shared. It was the long silences before and after the music that told you that they did. The Boston Blues Trust, sponsors of that festival and the up-coming free concert on the Esplanade on September 23-24, know what they are doing. There is much music out there that’s called the blues, that isn’t. Bluesmen are like African storytellers. Every riff and bass line is imbued with a grammar that has to be felt rather than studied. King of the Stroll, guitarist Chick Willis once wrote: “There has been so much knowledge of the Blues lost to the world because of some of the Blues Societies and Blues Clubs: there are so many businesses out there that are using the Blues to make money without even playing the Blues or hiring Blues performers; instead they are hiring White Rock players and calling it Blues.” At least in our part of the woods, we are getting it together.

Official Site of the Boston Blues Trust

by Josiah Crowley © 2007
384 Kay Bourne Arts Report   Issue #44 In town recently to promote 3:10 TO YUMA (see review below), which opened as No.1 at the box-office on SEPTEMBER 7, Peter Fonda – of the Hollywood acting Fonda Dynasty, was a complete delight. And a surprise.

As he promoted the Western remake, Fonda performed hilarious imitations of Hollywood legends quoting movie dialogue (including whole scenes from the classic Howard Hawks western, RIO BRAVO), delivering dead-on imitations of John Wayne, Dean Martin and Walter Brennan at rapid-fire pace) and talking about the movie industry from a unique, life-long knowledge.

For someone who grew up with legendary movie star Henry Fonda for a father, and whose older sister Jane Fonda grew up to become one of the best-known (and controversial) film personalities of her generation, Peter Fonda certainly doesn’t take himself too seriously. Neither is he an elitist nor snob. Rather, he comes across as someone out to have a good time as he works, touring the country to promote his new movie.

Nor does Fonda strike one as bitter. Though he co-wrote and starred in one of the most influential films of the ’60′s (EASY RIDER, for which he received his first Oscar nomination: BEST SCREENPLAY) and despite a late-career “Best Actor” Oscar nomination (1997′s ULEE’S GOLD), Peter has never achieved the prolonged critical or public acclaim of his relatives. Yet, it was Peter who brought up the subject of his more accomplished relatives. Despite his well-known contentious relationship with his father, Peter spoke with great pride of his father’s talent. And when he mentioned sister Jane and daughter Bridget (SINGLE, WHITE FEMALE; JACKIE BROWN), Fonda’s affection was obvious.

Long established as an actor, including a “Best Actor” Oscar nomination, Fonda continues to employ an acting coach. Obviously, the actor takes his craft seriously. Peter Fonda spoke of his lifelong dedication to his craft. At age 67, he still studies acting and believes one’s talent improves upon using it over and over again. Through decades of work (over 70 movies – everything from drive-in fodder such as CRAZY MARY, DIRTY LARRY to Robert Rossen’s sleeper on mental illness, the little-known LILITH), Fonda, who started his film career opposite Sandra Dee in TAMMY AND THE DOCTOR, has emerged, in 3:10 TO YUMA, as a character actor to contend with. Perhaps, as Fonda believes, study and work do pay off! Something to think about…

by Josiah Crowley © 2007
391 Kay Bourne Arts Report   Issue #44 They say, “They don’t make ‘em like they used to.” In the case of the new Russell Crowe-Christian Bale vehicle, 3:10 TO YUMA, that just ain’t so. Not only is this a terrific, old-fashioned Western, this remake is an improvement on the 1957 version.

Today, writer Elmore Leonard is best-known for his crime novels, many of which have been filmed (JACKIE BROWN, GET SHORTY, MR. MAJESTYK). However, he started his career writing Westerns, such as episodes of the TV series HAVE GUN, WILL TRAVEL and novels that were filmed as the Paul Newman vehicle, HOMBRE and Clint Eastwood’s JOE KIDD, among others.

3:10 TO YUMA, originally written as a short story, was previously filmed as a Glenn Ford western in 1957. In that film, the action takes place mostly in a small hotel room, where bad guy Ford keeps poor farmer Van Heflin hostage. The claustrophobic atmosphere works to a point; then, it simply becomes stilted filmmaking and a bore. One is hoping for a shootout or explosion. The viewer prays, to no avail, that Glenn Ford will do the unthinkable and emote: anything to stop the viewer from nodding off !

The remake, which contains great star turns by Crowe, Bale, Boston native, Ben Foster (so good in last year’s ALPHA DOG) and Hollywood veteran Peter Fonda (terrific in a character role), is a huge improvement. It moves swiftly. Sure, it could’ve been trimmed by 15 minutes or so, but it’s an overall, enjoyable western.

And the acting is a big improvement over the original. Not only is Crowe a superior actor to Glenn Ford, but Bale, best known as the current BATMAN and the title role in AMERICAN PSYCHO, continues to surprise with his versatility as the poor farmer who sees himself as a failure (though Van Heflin was great in the original). These two characters, the outlaw robber vs. the failing farmer, envy each other. The outlaw longs for the farmer’s stability and family life; the farmer yearns for the freedom, and lack of responsibilities, the robber has. As the film progresses, they come to respect each other, as well.

This film moves. The action is a little over the top, but, that’s okay, it’s a Western! The editing and cinemtaography add a lot to the film. So call Miss Kitty to babysit the young ‘uns. Call the stagecoach: get thee to the movies – 3:10 TO YUMA is a wild ride!

3:10 TO YUMA official website

by Mervan OsBourne
385 Kay Bourne Arts Report   Issue #44 “Only the most ridiculous parts of this movie are true.”

After plying themselves with plenty of Bosnian brandy, Scott Anderson, an American journalist working in eastern Europe in 2000, along with several like-minded colleagues, decided that there was money to be made in the madness of post-war Bosnia. Anderson and his ‘team’ launched into a weird adventure that brought them through dangerous terrain, as well as into perilous encounters with various and sundry black-marketeers, human traffickers and corrupt local government officials. In the end, their inquiries and actions led directly to serious international incidents and additional clandestine American intelligence operations.

When “The Matador”‘s director Richard Shepard read an account of these exploits in Esquire Magazine, he was fascinated and, once the decision had been taken to produce the story, accompanied one of the reporters who had participated in the adventure on a week-long tour of the area. Much of the film was shot in and around Sarajevo with the cooperation of the country’s army; Shepard and his crew had “carte blanche” access to the downtown, the airport, as well as military equipment and vehicles. The resulting wartime scenes are quite compelling.

Shepard decided to forego the straight dramatic formula or even a semi-documentary styled approach and rather presents a project he describes as being strongly influenced by Welles’ “The Third Ma”, dangerous and tense, yet with a dark sense of humor.

Richard Gere was Shepard’s immediate first choice to play the role of discredited field journalist Simon Hunt and describes the casting of Terence Howard as Hunt’s former cameraman, Duck, as a piece of luck given the actor’s ubiquitous recent presence on screen. Hunt is a man desperate to reclaim, if not his reputation, at least the spoils of having been one of his industry’s most cutting-edge reporters. Since their run of success together prior to Hunt’s fall from prominence, Duck has managed to work his way into the cushiest in-studio job a network can offer and has accumulated all the trappings along the way. In this case, Simon Hunt seeks to lay claim to a quite literal reward: a $10m prize for the capture of the Fox (Ljubomir Kerekes), based on real-life super villian Radovan Karadzic, a notorious Bosnian butcher/rapist responsible for any number of war crimes. In addition, the Fox and his men were responsible for burning, raping and murdering every man, woman and child in the rural village where Hunt’s pregnant Bosnian Muslim girlfriend lived.

Hunt and Duck team with recent Harvard graduate and TV studio VP’s son, Benjamin (played to stereotypical nerdy sidekick perfection by Jesse Eisenberg) after Hunt is able to convince the other men to help him seek out, capture, and possibly assassinate the Fox. The whole buddy-road movie deal kicks off once the trio begin their journey to the Serb village on the Montenegro border where the Fox is rumored to be in hiding, once on the road, there seems plenty of potential for slick and edgy comedic scenes.

There are several shots of televisions displaying scenes from Chuck Norris movies- Norris exploding out of the river in ‘Nam with an M16 locked and loaded for action- Shepard‘s archetypal testosterone exemplar. There is a cheesy, backslapping bar scene where Hunt and Duck’s old ‘war’ buddies swap grave, cliched battle stories; they’ve all been to hell and lived to tell the tale and they all swear a lot; there is a dangerous Serbian midget in a track suit who is chauffeured around by his seven-foot tall henchman; everywhere you look, some horrifically, creepy looking and evil eyed Bosnian killer is peering threateningly in the direction of our trio; and there’s the common annoyance of every rural, back-country Bosnian dude being totally fluent in English, down to the subtle slang, this is so common in this film that I assume it was written in as comedy. Some of the humor is borderline-offensive, particularly the scenes involving Duck’s girlfriend who is gratuitously shown in two phone sequences lounging half-naked by the too-perfect pool and sipping champagne while frolicking naked with a group of supermodels on the deck of Diddy’s yacht on the French Riviera. Shepard describes these shots as “simple visual cues that connect the viewer to the fantasy world in which Duck exists”, a world in which these stereotypes are the reality, – - thin rationale.

The considerable number of sharp comedic touches are, however, seriously blunted by overwrought dramatic devices that cripple the film’s satirical intentions and impede the film’s flow. In fact, potentially terrifying scenes are completely anesthetized by horribly misplaced absurdity; when the trio is captured and strung up by the Fox, there is a reasonable expectation that the Fox’s insane and murderous torture-chamber boss will use one or more of the numerous pain-inflicting devices at his disposal. At the moment when he is ready to strike, however, his cell phone rings and plays cheesy American pop music. It’s moments like this that hinder the film’s ability to establish any true pace and momentum. And it’s the use of superfluous contrivances like Duck’s Jay-Z video girl and Hunt’s overdone-raped-pillaged-and murdered-while-with-child girlfriend that show so little faith in the audience. There are two potentially good films in THE HUNTING PARTY, unfortunately neither is realized. Skip it.

The Hunting Party official website

by Lisa Simmons
388 Kay Bourne Arts Report   Issue #44 ILLEGAL TENDER, John Singleton‘s newest movie about love, family, deception and revenge is a crime drama that centers around the relationship of a mother (Wanda De Jesus) and her sons (Rick Gonzalez), (Antonio Ortiz) and a mother’s desire to keep her family together after the brutal killing of her mobster husband.

A bit over the top, but well enough acted to tell the story, it is a diversion for Singleton as far as the cast with whom he is working. The mainly Latino cast tells the story of the gritty underground world of drugs and money and how one man’s revenge causes this mother and her son’s to stay on the run.

Unknown to them, (Gonzales) who is going to college and leading a strait and narrow life, has no idea of his father’s past life until his mother is forced to tell the truth when assassains show up at their door. From that moment on, he is determined to put an end to his family being on the run.

Mother and son team up and head to Puerto Rico to take down the bad guys. Some great twists and turns along the way keep the audience engaged and interested, at least I was.


392 Kay Bourne Arts Report   Issue #44 The week-long celebration of the JOHN COLTRANE MEMORIAL CONCERT is SEPTEMBER 16 – 22, culminating with two! concerts: Friday, SEPTEMBER 21 is the BILL PIERCE QUARTET featuring MULGREW MILLER, hosted by WGBH’s Steve Schwartz from Jazz from Studio Four. Then Saturday, SEPTEMBER 22 is THE JOHN COLTRANE MEMORIAL ENSEMBLE featuring the RAVI COLTRANE QUARTET and AMIRI BARAKA hosted by Eric Jackson from GBH ‘s “Eric in the Evening”. For details of the week’s schedule, click on the image to the left to visit Northeastern University’s Center for the Arts‘ website.

Mayor Menino invites all to the 8th ANNUAL NEW BOSTONIAN COMMUNITY DAY on Tuesday, SEPTEMBER 18, from 11:30am – 2:30pm at Boston City Hall, to celebrate Boston’s immigrants and multiculturalism. Activities include: Free advice from Immigration Attorneys, multilingual tours of City Hall, Resource and Art tables, performances by international musicians, dancers plus lunch featuring from various countries. Nearly 2,500 people attended last year. Community Organizations provided information in several languages, on financial services andeducational opportunities ranging from ESL to college programs to culinary arts.

HBO and Harvard’s Institute of Politics (IOP) will host the premier screening of the HBO documentary, “LITTLE ROCK CENTRAL: 50 YEARS LATER” on SEPTEMBER 18, 6 – 8:30pm in Harvard’s J.F.Kennedy, Jr. Forum, 79 JFK Street, Cambridge. The film will be introduced by filmmakers Brent and Craig Renaud, followed by a panel discussion with Minnijean Brown-Trickey, one of the original “Little Rock Nine” and moderated by Henry Louis Gates. For more info call IOP at 617-495-1360.
LITTLE ROCK CENTRAL: 50 YEARS LATER debuts SEPTEMBER 25, 8pm ET exclusively on HBO.

State Treasurer Tim Cahill’s Financial Education Division presents the next seminar from the BROWN BAG LUNCH SERIES entitled “CREDIT IN A MONEY WORLD” Tuesday, SEPTEMBER 20 12:00-1:00pm at The State House, Hearing Room B-1. Learn:
* That your credit is more important than you may think when it comes to acquiring loans, real estate and even employment.
* About credit scores, credit reports, and what you can do to re-establish good credit.
* How to: get your free credit report, understand the basic steps to improving your credit score, and most importantly manage your overall debt load more efficiently.
All are welcome, seminars are free, you’ll just need to reserve your seat by registering here.

The 23rd Annual Boston Film Festival is now going on at AMC Boston Common Theater until SEPTEMBER 21. For a schedule of films click here.

THE BEANTOWN JAZZ FESTIVAL returns to Roxbury on Columbus Avenue, between Mass ave and Burke Street onSEPTEMBER 29, featuring music, art, and food, with all proceeds from the day’s event to benefit the Berklee City Music program. For the line-up of artists, click here.

GREATER FRAMINGHAM COMMUNITY CHURCH celebrates 35 years of service to the MetroWest community, and invites all to its celebratory banquet on Saturday, SEPTEMBER 29 at the Sheraton Framingham Hotel where MA Governor, Honorable Deval Patrick, will be the guest speaker. Continuing the celebration on Sunday, SEPTEMBER 30 at the 10am morning service at GFCC with Rev. Dr. Conley Hughes, Jr., pastor of Concord Baptist Church in Boston as the guest preacher. For more info call the GFCC at 508-626-2118.

TRINITY REP‘s season started SEPTEMBER 14 with a restaging of the bold political drama ALL THE KING’S MEN by Adrian Hall, adapted from the Robert Penn Warren novel, and directed by Brian McEleney and runs until OCTOBER 21. For tickets or more information contact the Trinity Rep box office, by phone at (401) 351-4242.

Trinity Rep will hold AUDITIONS for adult actors 18 and over for the 2007-2008 season on SEPTEMBER 22 and 23 at Trinity Repertory Company, 201 Washington St., Providence, RI. Saturday, Auditions for members of the Actors Equity Association only. Sunday, Auditions for members of the Actors Equity Association and non-union actors. Appointments are required. For information, call Laura Kepley at 401-521-1100, Ext. 275.

Providence Rhode Island’s Black Rep will open it’s 2007-2008 Theater Season with Jamaican playwright TREVOR RHONE‘s TWO CAN PLAY, a hilarious and revealing look at the perils of love, marriage, and the American dream, Jamaican style! directed by New York City based director MICHAEL ROGERS and featuring the talents of Black Rep Affiliate Artist RAIDGE and Boston-based Jamaican actress MARCIA FEARON. The show opens OCTOBER 12 and runs through November 11 at The Providence Black Repertory Company, 276 Westminster Street, Providence.

The Color of Film presents A TASTE OF FILM on Saturday, OCTOBER 20 at Hibernian Hall, its 2nd Annual fundraiser to benefit this newsletter, The Kay Bourne Arts Report and TCOF’s Mini-Grant Fund. General Admission and VIP tickets are on sale now at www.brownpapertickets.com. More information in the next few issues of The Kay Bourne Arts Report, or call 617-282-1234 with any questions.

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