Art on Deck

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805 Living Pulse Jun 2019

Ruth Bader Ginsburg by Inga Guzyte, courtesy photo.

Ruth Bader Ginsburg by Inga Guzyte, courtesy photo.

Using recycled skateboard decks as her medium, Inga Guzyte (ingaguzyte.com) transforms her passion for skateboarding into sculptural art. Her new #RebelWomen series spotlights women from around the globe—Ruth Bader Ginsburg, Malala Yousafzai, Frida Kahlo—emphasizing their strength, courage, fearlessness and wit.

“I am hoping to share rebellious and empowering stories,” says the 34-year-old artist, who lines her Santa Barbara studio with floor-to-ceiling stacks of skateboard decks (recycled from the nearby Lighthouse Skateshop) and waits for the right colors to show up before creating her sculptures. Born in Lithuania, and raised in Germany, she came to Santa Barbara at age 21 to learn English and immerse herself in the California skateboarding culture. Making her way into the male-dominated sport influenced her work.

Inga Guzyte self portrait, courtesy photo.

Inga Guzyte self portrait, courtesy photo.

“Inga’s work is an exciting combination of vision, originality and high craft,” says Nathan Vonk, owner of Sullivan Goss Gallery (sullivangoss.com) in Santa Barbara, where a solo show of Guzyte’s work appears from June 1 through July 23. “While her pieces are made from brutal, broken materials, the finished products are both sophisticated and delicate,” he says. “With her #RebelWomen series, she has added to that appeal by including a message that is powerful, important and uplifting.”  

Originally published in the June 2019 issue of 805 Living Magazine.

 

Dance Drives Dialogue

International colloquium in dance and performance studies addresses issues of race and racism in American classical ballet

The beauty and artistry of ballet can belie the sometimes painful truths that exist behind the dance.

Calvin Royal III and Unity Phelan in George Balanchine’s “Agon” (1957), Vail International Dance Festival 2018. Restaged by Heather Watts. Photo by Eric Baiano.

Calvin Royal III and Unity Phelan in George Balanchine’s “Agon” (1957), Vail International Dance Festival 2018. Restaged by Heather Watts. Photo by Eric Baiano.

“Those dances by George Balanchine and other 20th-century neoclassical choreographers reveal how the idiom of classical ballet has institutionalized and subverted American racism,” said Ninotchka D. Bennahum, a professor of dance and performance studies at UC Santa Barbara.

These ballets — such as the iconic, Civil Rights-era Balanchine ballet “Agon” from 1957 — reveal the complex relationship ballet and preeminent cultural institutions share with racial consciousness in the United States before and after World War II, she added. “Dance artists asked to undertake these roles have the capacity, the moral responsibility to shift our consciousness or to raise our consciousness. No work of art belongs solely to its time,” Bennahum said.

These topics and others will be considered when distinguished scholars and world-class performers gather Monday, April 29 in UC Santa Barbara’s ballet studio for the colloquium “Race, Ballet, American Dance,” a day of discussion and demonstration. Co-curated by Bennahum and Stephanie Batiste, an associate professor of English and of Black studies, the conference is the inaugural event of the International Colloquium for the Study of Dance and Performance Studies.

“We will pose the question, ‘What is the value of these actual works of ballet as historical archive?”

Combining elements of live performance and music, discussion and filmography, the multidisciplinary colloquium — which is free and open to the public — will explore the critical role of art in capturing and commenting on American history, specifically examining how racism has been institutionalized in American classical ballet.

“The history of the civil rights movement is written by ballet choreographers and modern choreographers,” said Bennahum. “Dancing bodies play a vital role in getting audiences, in raising public awareness to issues of injustice, to issues of joy and love and sexuality, and things that are not so easy to articulate with words.

“But these are not happenstance dances, these are dances that happened in very particular moments of time,” she added. “The relationship between African American vernacular dance, African American choreographed ballet and Russian, British, American ballet, really became a symbol of race relations in the United States.”

Participants will enter the event through a lobby exhibition featuring an archival collection of photographs curated by Bennahum from the Jerome Robbins Dance Division of The New York Public Library, the largest and most comprehensive archive in the world devoted to the documentation of dance.

“I really feel that it’s very important for students that we show them dancing bodies they cannot see in Santa Barbara,” Bennahum said. “The gravitational center of dance in the world is New York and I just felt we had to bring it to them, and we had to bring it in the form of performance and in the form of art exhibit, images on the walls, so they see that this is an intellectual, academic subject they can study. But it cannot happen without performance because without that the archive is missing. You have to have a sense of the geography of the stage. For these kids learning to dance, to know and feel their way through history, kinesthetic awareness is really significant.”

Further to that end, the colloquium’s featured guests include Heather Watts, former principal dancer of New York City Ballet and a distinguished lecturer, who will present and stage two seminal works: George Balanchine’s “Agon,” with music by Igor Stravinsky, and Jerome Robbins’ “Afternoon of a Faun,” with music by Claude Debussy. The pieces will be danced by Calvin Royal III (principal dancer, American Ballet Theatre) and Unity Phelan (soloist, New York City Ballet), accompanied by New York City Ballet Orchestra pianist Cameron Grant.

“In different ways, at their premieres both Balanchine’s “Agon” (1957) and Robbins’ “Afternoon of a Faun” (1953) addressed issues of race,” said Watts. “I’m looking forward to sharing and examining these works at the colloquium, focusing on their impact felt not only in the mid-century civil rights era in which they were created, but also today as they live on through new generations of dancers.”

Also performing is Alicia Graf Mack, chair of dance at The Juilliard School and former principal dancer with Dance Theatre of Harlem, Alvin Ailey American Dance Theater and Alonzo King/LINES. Her piece will be followed by a conversation with Lynn Garafola, professor emerita of dance at Barnard College, Columbia University and “preeminent ballet scholar in the United States who, with her husband (American historian Eric Foner of Columbia University) is a really important race scholar,” noted Bennahum. Garafola also will lecture on the African American Presence in Postwar American Dance.

An artists’ roundtable early in the day will provide insight direct from dancers themselves, while a later artist-scholar discussion will offer a multi-pronged analysis of what has taken place during the conference.

“My research on Black dance often has a lot to do with analysis of form and in terms of movement and repertoire,” Batiste said. “Dancers often think about dance in ways that are really different from how scholars think about dance. Those two approaches to how the body makes meaning together in one space show the value of what scholars bring and what dancers bring to same work of art.”

Batiste gave much of the credit to Bennahum for putting together the colloquium, while Bennahum extended credit to Watts, to donors John and Jody Arnhold and to Majewski. “Dance is very expensive,” said Bennahum. “Classical ballet is very expensive and they have made this possible for the university, and believed that UC Santa Barbara, above every other place in the country, was the place to create a laboratory, a think tank, about race and ballet.

“We’re at a very tense moment in history,” she concluded. “Art plays a significant role in that conversation in these moments in time.”

Originally published in The Current (UCSB) on April 23, 2019.

Celebrating 60 Years

Six decades strong, Arts & Lectures keeps education at the core of its mission

Ma’s visit to Santa Barbara — which includes a free, open-to-the-public, master class with UC Santa Barbara students, and the above-mentioned lecture, “Culture, Understanding and Survival” — marks a high point for the program.

“Our relationship with Yo-Yo is very special,” said Celesta M. Billeci, A&L’s Miller McCune Executive Director. “I think it’s unique to any program in the country, and I can say with confidence he has a very special relationship with us.” That relationship, she added, extends to Chancellor Henry T. Yang and his wife, Dilling.

This season, A&L has also co-commissioned a project with the Grammy Award-winning Silkroad Ensemble, founded by Ma in 1998. The genre-defying global musicians will perform the world premiere of “Take Their Stands” Friday, April 26, at the Granada.

“This is really research in action in the arts,” Billeci said. “We gave the money to this ensemble to create new work. They’ve created five new pieces they will premiere and will tour all over the world. And we did this here at UCSB. So that’s a real testament to the quality of this program and to being a leader in the arts.”

Alvin Ailey American Dance Theater’s Yannick Lebrun and Sarah Daley. Photo Credit: ANDREW ECCLES.

Alvin Ailey American Dance Theater’s Yannick Lebrun and Sarah Daley. Photo Credit: ANDREW ECCLES.

During the week prior to their performance, the musicians will be on campus working with students in the music, dance and religious studies departments and in the Givertz School of Education.

For example, Silkroad members Haruka Fuji and Sandeep Das will conduct a lecture/demonstration and Kayhan Kalhor will conduct a Dastgah practicum in world music; Kojiro Umezaki and Cristina Pato will hold a workshop with Gevirtz School of Education student teachers; Ahmad Sadri and Wu Tong will lead a meet-the-artist conversation on Asian religious traditions; and Aparna Ramaswamy will share Bharatnatyam dance traditions with students in the theater and dance department.

Education, Billeci stressed, is at the heart of A&L’s programming. “Its purpose is to really be intertwined with the academic program and be a supplement for the academic experience of students on this campus,” she said. “It’s not peripheral; it’s definitely to the core of the academic mission.”

To that end, Billeci, Associate Director Roman Baratiak and their team, particularly program manager Heather Silva, work closely with academic departments and individual faculty members to set priorities for the types of lectures and performances they bring to campus. “The speakers and artists we bring are not just coming here and doing their public presentation,” explained Caitlin O’Hara, A&L writer and publicist. “They’re going to campus for class events or master classes. They’re very heavily enmeshed in the campus as part of their stay.”

Historian Doris Kearns Goodwin’s recent visit is a prime example. Prior to her public lecture she met with honors students from the College of Letters and Science. “Frankly, I think some of our speakers are shocked at how much we expect them to do,” Baratiak quipped.

“We also present a lot of free events for students,” added Billeci, noting the recent concert with ukulele wizard Jake Shimabukuro in Storke Plaza. “This is the second time we’ve had him do that. He did it before and the students went nuts for him. They just love him. And he just loves them. He’s a great ambassador for our program and for music overall.”

Plans to bring performers to A&L are often in the works years ahead of time. With the dance series, for instance, Billeci meets with faculty members several times throughout the year to understand who they are interested in having come to campus. Professors and lecturers often build class visits into their curricula, and when these companies perform, hundreds of students are in the audience.

“On our lecture side, our education coordinator will reach out to academic departments and individual faculty members and say, ‘Here’s an opportunity,’” explained Baratiak. They can elect to send their students to an event or, if time can be spared in the performer’s or presenter’s schedule, he or she might meet with students. “We have collaborations with the College of Creative Studies, the writing program, pretty much most departments,” he added.

“I think we’ve got one of the most exciting and interesting public lecture programs in the country,” said Baratiak, whose 40-year tenure with the program began when he was a student at UC Santa Barbara. “So it’s obviously something that I think all of us are proud of here at A&L.”

Baratiak is particularly enthusiastic, he added, about the annual free summer film series presented at the Santa Barbara Courthouse in collaboration with the Santa Barbara County Office of Arts and Culture.

The truth is, over the last 60 years, A&L has enabled Santa Barbara audiences to spend time with some incredible individuals and performers: Upton Sinclair, Robert Oppenheimer, Duke Ellington, Dizzy Gillespie, Bishop Desmond Tutu, Allen Ginsberg and The Dalai Lama (on three separate occasions), to name a few.

In addition to Yo-Yo Ma, A&L has more recently brought to the local stage Joan Baez, Trevor Noah, Laurie Anderson, Gloria Steinem, Bill T. Jones, the NYC Ballet, the Lincoln Center Jazz Orchestra, Sonny Rollins and Twyla Tharp.

A&L also presented talks by Pakistani activist and Nobel Prize winner Malala Yousafzai (“We were the only university in the country that got that date,” Billeci pointed out) and comedian Jon Stewart (“We presented him to 5,000 students in the Thunderdome”), and a concert by alumnus Jack Johnson, who performed at Harder Stadium.

The talk by former vice president Joe Biden at the Arlington Theater also stands out. “We were doing a free simulcast for students on the campus, and as soon as it ended he jumped in the car and came to campus to meet with the students who’d watched the simulcast,” recalled O’Hara. “He sat and talked with them. I’ve had so many students talk to me and say how impactful that was.”

Similarly, a recent — and free — lecture by Tarana Burke, founder of the #MeToo Movement, also was a high point for students, according to O’Hara. So many students wanted to hear her talk that simulcasts to overflow rooms were required to accommodate them.

“If you go back 60 years,” Billeci remarked, “this program is really really amazing.”

On the community outreach side, the A&L initiative dearest to Billeci’s heart is ¡Viva el Arte de Santa Bárbara! The program offers free performances and educational activities to students, at-risk youth and families in Santa Barbara County. “We have made the long-term commitment to bring high quality arts — not average or mediocre — the very best in music and dance to these communities and to the folks who live there,” Billeci said.

Putting on more than 100 events every year is a team effort, and Billeci is quick to credit the contributions of A&L staff, which includes roughly 75 work-study students. “Often Roman and I get a lot of credit, but this does not work without the amazing group of people that make this machine move,” she said. “For the size of this program — a nationally respected, top-five program in the country — this group of people is so dedicated and so hard working and it’s my privilege and my pleasure to work with them every day.”

More information about A&L, including and a schedule of events, is available at www.artsandlectures.ucsb.edu.

Originally published in The Current (UCSB) on April 19, 2019.

A Day Away: Pasadena

The Huntington Botanical Gardens, courtesy Visit Pasadena.

The Huntington Botanical Gardens, courtesy Visit Pasadena.

The rich history and culture of Pasadena is a just a short drive away.

By Leslie Dinaberg

Less than 10 miles away from Downtown Los Angeles, but a world away from the big city vibe, Pasadena beckons with an exceptional blend of architecture, gardens, history, entertainment and dining options that will please even the pickiest of travelers.  

Sip & Savor

We started our recent visit with a delicious meal at The Arbour (527 S. Lake Ave., Ste. 120, 626/396-4925, thearbourpasadena.com), where Chef Ian Gresik and his team bring the freshest ingredients from local farms, ranches and fisheries to the table. Sip a specialty cocktail like an Arugula Gimlet (get your veggies and gin in one shot) and nibble on delicious edibles like crab pappardelle pasta or bison steak tartare as you watch the magic happen in a bright, open kitchen.

The Antidote cocktail at Bar 1886 at The Raymond, courtesy Visit Pasadena.

The Antidote cocktail at Bar 1886 at The Raymond, courtesy Visit Pasadena.

Step back into time for late night cocktails at Bar 1886 at The Raymond (1250 S. Fair Oaks Ave. 626/441-3136, theraymond.com), a speakeasy style bar with more than 600 off-menu house cocktails, Manhattans, old-fashions, sidecars and sours prepared to perfection. If you don’t see exactly what you’re thirsty for, request a “dealer’s choice” and let the bartender create the perfect drink for you.

A great choice for breakfast is Central Grille ( 219 S. Fair Oaks Ave., 626/449-4499, centralparkrestaurant.net), housed in a 100-year-old flower warehouse, and serving up specialties like salmon skillet hash, braised short rib benedicts, as well as an array of eggs, waffles, pancakes and other breakfast fare. 

Prawn, courtesy Visit Pasadena.

Prawn, courtesy Visit Pasadena.

For a casual lunch, check out Prawn (16 Miller Alley, 626/219-6615, prawncoastal.com/pasadena-ca), Chef Mark Peel’s (Ma Maison, Spago, La Brea Bakery, Campanile) new venture designed to deliver super accessible high-quality seafood. Try the Seattle fish stew, the lobster mac & cheese and the chocolate chip cookies, if they have them!

Gamble House in Pasadena is a 1908 National Historic Monument designed by Architect brothers Charles and Henry Greene. Photo courtesy Visit Pasadena.

Gamble House in Pasadena is a 1908 National Historic Monument designed by Architect brothers Charles and Henry Greene. Photo courtesy Visit Pasadena.

See

Tour the Gamble House—a 1908 National Historic Monument from—for a docent-led education in the craftsman tradition. Architect brothers Charles and Henry Greene not only designed the residence, but nearly every detail inside and out—furniture, rugs, lamps and leaded art glass—for David and Mary Gamble of the Procter & Gamble Company (reservations required, 626/793-3334, gamblehouse.org). 

Interior of Gamble House in Pasadena, a 1908 National Historic Monument available for tours by reservation.  Photo courtesy Visit Pasadena.

Interior of Gamble House in Pasadena, a 1908 National Historic Monument available for tours by reservation. Photo courtesy Visit Pasadena.

Architecture buffs should also check out the Bungalow Heaven Home Tour on Apr. 28 (bungalowheaven.org), where you’ll visit select homes built from 1900 to the 1930s in Bungalow Heaven, Pasadena’s first Landmark District. Designated as one of the “10 Great Places in America” by the American Planning Association, Bungalow Heaven has more than 1,000 historic homes in the neighborhood.

The iconic Vromans Bookstore, photo courtesy Visit Pasadena.

The iconic Vromans Bookstore, photo courtesy Visit Pasadena.

Southern California’s oldest and largest independent bookstore, Vroman’s Book Store (695 E. Colorado Blvd., 626/449-5320, vromansbookstore.com) is a literary landmark well worth exploring. 

The Pasadena Playhouse, courtesy Visit Pasadena.

The Pasadena Playhouse, courtesy Visit Pasadena.

The historic Pasadena Playhouse (39 S. El Molino Ave., pasadenaplayhouse.org) offers building tours, as well as a wide variety of productions. Slated to open this spring is Tiny Beautiful Things, based on the New York Times bestseller by Cheryl Strayed, and adapted by Nia Vardalos (My Big Fat Greek Wedding).

The Huntington Art Gallery exterior, courtesy the Huntington.

The Huntington Art Gallery exterior, courtesy the Huntington.

The Huntington Library, Art Collections, and Botanical Gardens (1151 Oxford Rd., 626/405-2100, huntington.org) is a magical place. I could have easily spent several days exploring the 207-acre estate of the late Henry Huntington. The botanical gardens alone have 14,000 varieties of plants on more than 150 acres. Don’t miss the Chinese Garden, where you can stroll around a beautiful lake bordered by Tai Hu rocks and enjoy a landscape that includes five hand-carved stone bridges, a stream, and a canyon waterfall. The Huntington Library includes works from American and British literature, including an original Gutenberg Bible. There’s also the Huntington Art Gallery, showcasing 18th and 19th British and French masterpieces, including “Pinkie” (Thomas Lawrence, 1794) and “The Blue Boy” (Thomas Gainsborough, 1770), which currently offers visitors a glimpse into the technical processes of a senior conservator working on the famous painting as well as background on its history, mysteries and artistic virtues (through Sept. 30). 

The Norton Simon Museum, courtesy Visit Pasadena.

The Norton Simon Museum, courtesy Visit Pasadena.

The Norton Simon Museum (411 W. Colorado Blvd., nortonsimon.org) is known around the world as one of the most remarkable private art collections ever assembled. Industrialist Norton Simon (1907–1993) amassed an astonishing collection of European art from the Renaissance to the 20th century and a stellar collection of South and Southeast Asian art spanning 2,000 years. The current exhibition, Matisse/Odalisque, on view through Jun. 17, features work by Pablo Picasso, Henri Matisse and others.

The Pasadena Playhouse District, courtesy Visit Pasadena.

The Pasadena Playhouse District, courtesy Visit Pasadena.

Stay

We stayed at the centrally-located Hilton Pasadena (168 N. Los Robles Ave. 626/577-1000, hilton.com), in a spacious, contemporary room. Also well-regarded are the Langham Huntington (recently named a reader’s choice award winner by Condé Nast Traveler) and the historic Bissell House Bed and Breakfast.

For more information, go to visitpasadena.com. 

Originally published in Santa Barbara Seasons on March 14, 2019.

Joffrey Ballet

Joffrey Ballet, "Mammatus, photo by Cheryl Mann.

Joffrey Ballet, “Mammatus, photo by Cheryl Mann.

The world-renowned Joffrey Ballet comes to the Granada Theatre for two nights of incredible dance performances of works by George Balanchine and other acclaimed choreographers, presented by UCSB Arts & Lectures on Tuesday, March 5 and Wednesday, March 6 at 8 p.m.

“The Joffrey dancers, costumed and lit and shockingly talented, are like a rock concert for the eyes,” reports Huffington Post.  

Among the repertoire included in on the Santa Barbara stage is one of Balanchine’s earliest experimental works, two pieces by modern ballet master Nicolas Blanc, the unique cinematic vision of Swedish choreographer Alexander Ekman, contemporary ballet darling Justin Peck with a work set to a score by Philip Glass and Annabelle Lopez Ochoa‘s stunning depiction of a turbulent cloud formation. These wide-ranging programs display the inestimable skill of the Joffrey Ballet’s dancers, classically trained to the highest standards, and the company’s unique, inclusive perspective on dance. 

Tue, Mar 5 (Program A)

George Balanchine: The Four Temperaments
Nicolas Blanc: Beyond the Shore
Alexander Ekman: Joy

Wed, Mar 6 (Program B)

Justin Peck: In Creases
Nicolas Blanc: Encounter
Alexander Ekman: Joy
Annabelle Lopez Ochoa: Mammatus 

The Joffrey is a world-class, Chicago-based ballet company and dance education organization committed to artistic excellence and innovation. Classically trained to the highest standards, the Joffrey Ballet expresses a unique, inclusive perspective on dance, proudly reflecting the diversity of America with its company, audiences and repertoire, which includes major story ballets, reconstructions of masterpieces and contemporary works.

Founded by visionary teacher Robert Joffrey in 1956, guided by celebrated choreographer Gerald Arpino from 1988 until 2007, The Joffrey Ballet continues to thrive under internationally renowned Artistic Director Ashley Wheater and Executive Director Greg Cameron.

Joffrey Ballet, Beyond the Shore, photo by Cheryl Mann.

Joffrey Ballet, Beyond the Shore, photo by Cheryl Mann.

RELATED EVENT

Community Dance Class with The Joffrey Ballet 

Mon., Mar. 4, 5:30-7:30 p.m.

Gustafson Dance, 2285 Las Positas Rd., Santa Barbara

Reservations: 805/563-3262 ext. 1

Co-presented by Gustafson Dance

For tickets or more information, call UCSB Arts & Lectures at 805/893-3535 or purchase online at ArtsAndLectures.UCSB.eduTickets are also available through The Granada Theatre at  805/899-2222 or granadasb.org.

Leslie Dinaberg

Originally published in Santa Barbara Seasons on March 2, 2019.

Annie Leibovitz

Annie Leibovitz, courtesy photo.

Annie Leibovitz, courtesy photo.

Legendary photographer Annie Leibovitz is coming to Santa Barbara on February 28, in what’s sure to be a fascinating evening presented by UCSB Arts & Lectures.

Annie Leibovitz delivers an hour-long illustrated lecture followed by a Q&A with Pico Iyer. A “Library of Congress Living Legend,” Leibovitz’s body of work encompasses some of the most well-known portraits of our time, with subjects including actors, directors, writers, musicians, athletes and political and business figures, as well as fashion photographs and more.

Brooke Shields "Got Milk" campaign photo by Annie Leibovitz.

Brooke Shields “Got Milk” campaign photo by Annie Leibovitz.

“Whether she’s photographing the famous and powerful—or simply the woman next door—Annie always captures something unexpected and deeply personal,” says Oprah Winfrey.  

This event takes place on Thurs., Feb. 28 at 7:30 p.m. at the Arlington Theatre, 1317 State St. For more information or to purchase tickets, click here.

Leslie Dinaberg

Originally published in Santa Barbara Seasons on February 26, 2019.

New York Polyphony

New York Polyphony, photo by Chris Owyoung.

New York Polyphony, photo by Chris Owyoung.

The New Yorker calls them, “Singers of superb musicianship and vocal allure.” National Public Radio praises New York Polyphony for a “rich, natural sound that’s larger and more complex than the sum of its parts.”

Hear them for yourself when UCSB Arts & Lectures presents the two-time Grammy Award-nominated vocal chamber ensemble New York Polyphony in its Santa Barbara debut on Wednesday, February 20 at 7 p.m. at Music Academy of the West’s Hahn Hall (1070 Fairway Rd., Santa Barbara).

The provocative program Faith and Reason includes Thomas Tallis’ Mass for Four Voices and Gregory Brown’s Missa Charles Darwin—the inspiration behind his brother Dan Brown’s latest Da Vinci Code novel—which honors the conventions of its musical antecedents but replaces sacred texts with excerpts from Darwin’s writings. Of special note, this performance marks the return of Music Academy of the West alumnus Christopher Dylan Herbert, the group’s baritone, to his alma mater.

For tickets or more information, call UCSB Arts & Lectures at 805/893-3535 or purchase online at ArtsAndLectures.UCSB.edu

Leslie Dinaberg

Originally published in Santa Barbara Seasons on February 19, 2019.

SBIFF 3rd Weekend: Free Films at the Riviera

Students attend Mike's Field Trip To The Movies during the 34th Santa Barbara International Film Festival at Arlington Theatre on January 31, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF).

Students attend Mike’s Field Trip To The Movies during the 34th Santa Barbara International Film Festival at Arlington Theatre on January 31, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF).

As a way to thank everyone who supported and made the Film Festival possible, Santa Barbara International Film Festival will once again be showing select award winning films from the 2019 SBIFF during the 3RD WEEKEND!

“As a thank you to our community, films we will be shown for FREE! No tickets necessary, seating will be on a first come first served basis at SBIFF’s Riviera Theatre,” according to the organizers.

Quiet Storm: The Ron Artest Story

Quiet Storm: The Ron Artest Story

Friday, February 15 – 7:30 p.m.
Quiet Storm: The Ron Artest Story – Winner Best Documentary Award sponsored by SEE International

In the world of professional sports, no athlete ever came back from a mental health disorder—until Ron Artest, now known as Metta World Peace.

In Love and War

In Love and War

Saturday, February 16 – 7:30 p.m.
In Love and War (I krig & kærlighed) – Winner Audience Choice Award sponsored by The Santa Barbara Independent

When Esben flees the trenches of WWI after three years at the front, it’s so he can return to his beloved wife Kirstine and son Karl. But everything at home has changed.

Babysplitters

Babysplitters

Sunday, February 17 – 7:30 p.m.
Babysplitters – Winner Panavision Spirit Award for Independent Cinema

When two couples with mixed feelings about having kids hatch a plan to have and share one baby, it seems like the perfect compromise—until things spiral out of control.

The Riviera Theatre is located at 2044 Alameda Padre Serra, Santa Barbara.

Leslie Dinaberg

Originally published in Santa Barbara Seasons on February 12, 2019.

Danish String Quartet

Danish String Quartet, photo by Caroline Bittencourt.

Danish String Quartet, photo by Caroline Bittencourt.

The Danish String Quartet returns to Santa Barbara this week for two beautiful nights of music presented by UCSB Arts & Lectures.

First up, a salon-style program of Nordic folk on Tuesday, Feb. 12 at 7 p.m. at Rockwood. Then on Wednesday, Feb. 13 at 7 p.m. they will perform a classical program of Haydn, Abrahamsen and Nielsen at UCSB Campbell Hall.

Nominated for a 2019 Grammy Award, the Danish String Quartet—Frederik Øland (Violin); Rune Tonsgaard Sørensen (Violin); Asbjørn Nørgaard (Viola); Fredrik Schøyen Sjölin (Cello)—is an internationally acclaimed chamber music group. As the Boston Globe reports, “Do not lose track of this group. Even by today’s high standards, it offers something very special.” 

Danish String Quartet, photo by Caroline Bittencourt.

Danish String Quartet, photo by Caroline Bittencourt.

“The quartet’s crystalline sound conjures a magical atmosphere and nods to the strident tone of Nordic fiddle playing,” writes The Strad (U.K.).  

These four Nordic lads have played together since childhood and possess “warmth, wit, a beautiful tone and technical prowess second to none” (NPR).

Violinists Frederik Øland and Rune Tonsgaard Sørenson and Viola player Asbjorn Norgaard met as children at a music summer camp where they played soccer and made music together. As teenagers, they began the study of classical chamber music and were mentored by Tim Frederiksen of Copenhagen’s Royal Danish Academy of Music. In 2008, the three Danes were joined by Norwegian cellist Fredrik Schøyen Sjölin.

For tickets or more information, call UCSB Arts & Lectures at 805/893-3535 or purchase online at ArtsAndLectures.UCSB.edu

Leslie Dinaberg

Originally published in Santa Barbara Seasons on February 11, 2019.

SBIFF Photo Gallery: Melissa McCarthy Receives the Montecito Award

Melissa McCarthy attends the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

Melissa McCarthy attends the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

Melissa McCarthy received the Montecito Award for Can You Ever Forgive Me? on Sunday at The 34th Annual Santa Barbara International Film Festival (SBIFF).

An excited, sold out crowd greeted Melissa McCarthy as she entered the stage to sit in conversation with IndieWire Editor at Large, Anne Thompson, to discuss her beginnings on stage, what she learned from her time at the Groundlings, and her future behind the camera.

Discussing her early days doing stand-up comedy, McCarthy says one of the reasons she didn’t do it for long was that she “never walked into a room where a guy didn’t tell me, ‘Take your shirt off!’ and they are just yelling at you. They would keep yelling until you have to embarrass them, but then you spend four of your five minutes eviscerating them.”

Melissa McCarthy speaks onstage at the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

Melissa McCarthy speaks onstage at the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

She confided that her actress friend Jennifer Coolidge  (perhaps best known for playing Stifler’s Mom in American Pie) made a call to a casting agent, which ultimately earned McCarthy her first movie role, in the 1999 Doug Liman directed film, Go. Her first big television role, as “Sookie” on Gilmore Girls was originally to be played by Alex Borstein (currently co-starring in the Marvelous Mrs. Maisel) who was contractually obligated to MadTV at the time. McCarthy is still stunned that her first job on Gilmore Girls lasted for seven years.

On her memorable scene in the pawn shop in The Hangover—where she ignores Bradley Cooper to flirt with Zach Galifianakis—McCarthy says, “I thought, I wonder if anyone has ever just shunned Bradley off like this. I thought, this is probably good for him.”

Melissa McCarthy attends the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

Melissa McCarthy attends the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

As for her future projects, McCarthy says, “I am ready to direct. I did some Mike and Molly’s and I did a short for the Oscars and I loved it. I would like to not be in it. I just want to be there and concentrate on the people in it.”

McCarthy’s Can You Ever Forgive Me? co-star Richard E. Grant presented the award and began his presentation with a google translation of the meaning of McCarthy, “loving.” Grant says, “I have yet to meet anyone who doesn’t have loving words to say about her.” McCarthy accepted her award giving thanks to the Santa Barbara International Film Festival for “shining a light on these types of movies.”

Melissa McCarthy speaks onstage at the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

Melissa McCarthy speaks onstage at the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

Melissa McCarthy attends the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

Melissa McCarthy attends the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

Melissa McCarthy speaks onstage at the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

Melissa McCarthy speaks onstage at the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

Anne Thompson, Melissa McCarthy and Richard E. Grant pose backstage at the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

Anne Thompson, Melissa McCarthy and Richard E. Grant pose backstage at the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

SBIFF Director Roger Durling, Melissa McCarthy and Richard E. Grant pose backstage at the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

SBIFF Director Roger Durling, Melissa McCarthy and Richard E. Grant pose backstage at the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Rebecca Sapp/Getty Images for SBIFF)

Melissa McCarthy speaks onstage at the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Emma McIntyre/Getty Images for SBIFF)

Melissa McCarthy speaks onstage at the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Emma McIntyre/Getty Images for SBIFF)

Melissa McCarthy and Richard E. Grant speak onstage at the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Emma McIntyre/Getty Images for SBIFF)

Melissa McCarthy and Richard E. Grant speak onstage at the Montecito Award honoring Melissa McCarthy during the 34th Santa Barbara International Film Festival at Arlington Theatre on February 3, 2019 in Santa Barbara, California. (Photo by Emma McIntyre/Getty Images for SBIFF)

Leslie Dinaberg

Originally published in Santa Barbara Seasons on February 8, 2019.