Opinion July 26, 2017

EDITOR’S NOTE

I have to imagine that nothing puts the pressure on a hiring committee like knowing their candidates could be in the job for the next 25 years. That’s how long Marin Alsop led the Cabrillo Festival of Contemporary Music, and in that time she put it on the map as one of the country’s top destinations for new music. Soooooo … kinda big shoes to fill. But reading Christina Watersinterview with Alsop’s replacement, Cristian Măcelaru, I think the nerves of everyone involved should be soothed. Not only does he clearly have the same love of music and ambitious goals as Alsop, I sense a similar sense of playfulness, which was always my favorite thing about Marin. I mean, this guy’s funny! It’s a great interview. She also sat down with composer Karim Al-Zand, whose new work The Prisoner—inspired by letters from a prisoner at Guantanemo Bay—gets its world premiere at this year’s festival, and with virtuoso percussionist Dame Evelyn Glennie, who will perform Ad Infinitum, a new piece written for her by festival composer-in-residence Clarice Assad. It all comes together to provide a great deal of insight into this year’s program, and the future of the Cabrillo Festival.

I also hope you’ll check out Jacob Pierce’s moving story about a new exhibit at MAH that shines a light on the issues faced by kids in the foster care system. And lastly, a little extra plug for Santa Cruz Shakespeare’s production of Measure for Measure, which I review in this issue: it shouldn’t be missed.

STEVE PALOPOLI | EDITOR-IN-CHIEF


LETTERS TO THE EDITOR

Read the latest letters to the editor here.

Border Troubles

Lisa Jensen is one of the most intelligent film reviewers in Northern California. Her work is consistently well researched and articulate. However, her review of Letters From Baghdad (GT, 7/12) is misleading in certain respects. Jensen notes that Gertrude Bell was often engaged as a mapmaker and that she had “extreme knowledge of inter-tribal relationships” in the part of the Middle East that, prior to World War I, had been controlled by the Ottoman Empire. Also that she was “enlisted to help divide postwar ‘Arabia.’”  She fails to mention, on the other hand, that this region was populated by both Shiites and Sunnis, and that the segment inhabited by Kurds was a potential part of a future Kurdistan. The land of the Kurds has been and is currently divided between Turkey, Iraq, Iran and Syria—much to the discomfort of ethnic Kurds.

How is it that Gertrude Bell thought that these three competing cultures could be successfully yoked together into a new country, Iraq? It is no wonder that she was disillusioned. Jensen refers to the “thorny issue of how to govern Iraq” and notes that these issues continue “to play out on the world stage.” What an understatement! The current wars in Iraq and Syria, which began with the U.S. invasion of Iraq in 2003, have destroyed much of the cities and displaced a large proportion of the population. Isn’t it obvious by now that the borders of Iraq are an untenable construction, that Kurdistan should be a recognized nation, and that the notion of jamming all these different cultures into to one hastily drawn border was a brutal mistake?

Gertrude Bell was an amazing historian and world traveler and, as Jensen notes, a role model for women everywhere—absolutely. But she made a big mistake when she allegedly drew the borders of modern Iraq.

Robert Scott

Santa Cruz

Pull ’Em Up

While we all applaud Fred Geiger’s impulse to keep and potentially reuse the tracks in the existing county rail/trail corridor (GT, 7/19), the most recent study indicates that the condition of the tracks, not to mention the trestles, bridges, and narrow corridors through sensitive habitat—as well as congested intersections (think Seabright and Murray Streets)—make a rail and trail prospect problematic, in addition to costly, and well beyond the present capability of funds voted by Measure D.

The not-so-misnamed Greenway website points out that the substantial merits of a trail-only proposition was never previously considered, nor offered to the voters. Take a look at sccgreenway.org, and review the report by Nelson/Nygaard & Associates examining prospective enhanced access and usage by bicyclists and walkers. Thinking about the kind of community we want to be in the future, remember that a trail-only option supports Santa Cruz County’s initiative to provide infrastructure to support 20 percent bicycle use by 2035, and we can complete a trail alone in the existing corridor within a few years.

There’s a lot more to learn here. The bottom line is a train will never pencil out. Projected ridership is low. We have no money to build or operate a train. Pulling the tracks is self-funding, since the steel rails can be recycled for the cost of pulling them. The Nelson/Nygaard study shows the potential for a scalable, healthy, safe, and cost effective beautiful Greenway that will move way more people than a train. Check it out.

Nadene Thorne

Santa Cruz


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GOOD IDEA

FIELDING REQUESTS
Pinto Lake County Park will receive soccer upgrades, Santa Cruz County leaders announced last week, with help from CONCACAF Gold Cup, a tournament in North and Central America, as well as its official insurer, Allstate. The field is home to the Aztecas Youth Soccer Academy, a program designed to help at-risk youth learn life skills. New equipment includes new bleachers, goals, covered benches, flags and nets.


GOOD WORK

PAINT IT BIG

The Santa Cruz Arts Commission, working with the city of Santa Cruz, will unveil a draft concept for a new mural at Scope Park, next to the clock tower on the corner of Pacific Avenue and Mission Street, on Wednesday, Aug. 2 from 5 to 6 p.m. Artist Sarah Bianco will be taking comments. The commission will vote on it on the following Wednesday.


QUOTE OF THE WEEK

“Whenever I think of the past, it brings back so many memories.”

-Steven Wright

5 Things to Do in Santa Cruz This Week

Event highlights for the week of July 26, 2017

Green Fix

Big Pete’s Beach Clean Up

popouts1730-green-fixIt’s summertime, and the living is easy. But all easy living at the beach is generally followed by a pretty big trash pileup. Help beautify our backyard and keep it clean and healthy for the community to enjoy with Big Pete’s clean up on Cowell Beach. Joining with the likes of Save Our Shores, Santa Cruz Waves, and the Main Beach Clean Up Crew, Pete’s has cleaned up 26th Avenue, Twin Lakes, Sunny Cove and other local favorites. Cleanups are held regularly.

Info: 11 a.m.-2 p.m. Saturday, July 29. Cowell Beach, 21 Municipal Wharf, Santa Cruz. bigpetestreats.com/beach-clean-up. Free.

 

Art Seen

Books and Brews La Selva Beach Summer Fair

Beers and books—it’s totally a thing now. And thank goodness, too, they’re the perfect combination. This Saturday, July 29, more than 40 arts and crafts vendors will present handmade jewelry, pottery, soaps, woodcraft, clothing and more at the Books and Brews La Selva Beach Summer Fair. Peruse the book selection with coffees and pastries from the bake sale and then grab some delicious eats from Ate3One and microbrews from Discretion Brewing and English Ales. Crystal Bay Farm will offer fresh produce and local bands will provide the tunes.

Info: Saturday, July 29. 10 a.m.-4 p.m., La Selva Beach Clubhouse, 314 Estrella Ave., La Selva Beach. Bo**************@gm***.com.

 

Saturday 7/29

‘The Journey of Julia Pastrana’

popouts1730-JourneyofPastranaJulia Pastrana was an indigenous woman from Mexico who performed as a singer throughout the early 19th century. Pastrana also had a genetic condition called hypertrichosis which covered her face and body with black hair, enlarged her ears and nose, and caused irregular teeth. Her life was so fascinating that for more than a hundred years after her death, her mummified body was passed from hand to hand, exhibited all over the world. In 2013, her body was finally laid to rest in her hometown, 153 years after her death. This Saturday, July 29, a group of women celebrate her life with a lecture by Dr. Kathleen Godfrey, a one-woman show by Larissa Garcia, a space dedicated to Laura Anderson Barbata, who was responsible for putting Pastrana’s body to rest, as well as crafts and interactive art.  

Info: 1-5 p.m. Museum of Art and History, 705 Front St., Santa Cruz. santacruzmah.org.

 

Saturday 7/29

Marianne Williamson at Rio Theater

popouts1730-MarianneWilliamson_1New York Times best-selling author Marianne Williamson returns to Santa Cruz to speak about Healing in the 21st Century. Williamson is an internationally acclaimed spiritual author and lecturer and has been featured on popular programs like “The Oprah Winfrey Show,” “Good Morning America” and “Charlie Rose.” Williamson writes in her 1989 best-selling book A Return to Love, “Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure … ”

Info: 8 p.m. Rio Theatre, 1205 Soquel Ave, Santa Cruz. riotheater.com. $40.

 

Saturday 7/29

‘50 Years of Farming and Gardening’ Workshops

popouts1730-50-yearsFARMThis Saturday, July 29, the UC Santa Cruz Farm & Garden celebrates 50 years of of UCSC’s leadership in organic farming and sustainable agriculture. In 1967, a modest organic garden on a steep hillside above Stevenson College grew into an internationally-acclaimed hands-on education and research program. More than 1,500 people have graduated from the apprenticeship and the center’s research has led to breakthroughs in the organic production of key crops like strawberries, apples, and artichokes. Workshops begin at 2 p.m. and 3:45 p.m. and include topics like pollinators in the garden, drawing in the garden, integrating blueberries, youth empowerment and working with teens in the garden. Advance registration is recommended.

Info: 11 a.m.-5 p.m. UCSC Farm, 1156 High St., Santa Cruz. specialevents.ucsc.edu. $20-$30.

What astrological sign do you get along with best?

“Taurus, because I like stubborn bastards.”

Terry Olson

Santa Cruz
Physicist

“Water signs like Cancer. I think because Cancer is on the opposite of my sign, which is Scorpio.”

Nicole Goldfield

Santa Cruz
Teacher

“I get along with Libras the most, because a lot of my good friends are Libras and they’re cool.”

Liz Boyd

Soquel
Teacher/Mom

“Cancer. I’m a pretty even-keeled person and Cancers are a little bit more fiery and passionate, and I like having that balance in my life.”

Lizzy Kock

Santa Cruz
Wine/Beer Server

“Leo, because of the openness and consciousness.”

Zach Brady

Santa Cruz
Server/Farmer

Music Picks Jul 26 – Aug 1

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Live music highlights for the week of July 26, 2017.

THURSDAY 7/27

COUNTRY

DRAKE WHITE

Drake White is what happens if your favorite rugged roots artist became a big country star. The Alabama-born, Nashville-based singer-songwriter has a knack for crafting catchy pop-country tunes that stay with you long after you hear them, and he’s one of the emerging darlings of the radio country scene. But White has a multi-dimensionality that sets him apart from the canned country some American roots music fans steer hard away from. Though he’s a chart-topping artist, he has a vibe that feels more underground roots hero than polished-up Nashville showman. CJ

INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $20/adv, $25/door. 423-1338.

FRIDAY 7/28

REGGAE

MARCIA GRIFFITHS

There’s a reason reggae fanatics refer to Marcia Griffiths as the empress of reggae music. You’ve heard her strong, yet smooth voice on several of Bob Marley’s most iconic songs. Starting in 1974, she, Rita Marley and Judy Mowatt formed the I Threes, the backing vocalists for Bob Marley and the Wailers. Their harmonies were a huge part of what elevated Marley’s later work. Griffiths was already a well-known singer before backing Marley. She’s continued to carry the flame of this music. This is her first performance at Moe’s. She’ll be backed by the legendary Sly & Robbie and The Taxi Gang. AARON CARNES

INFO: 9 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $25/adv, $30/door. 479-1854.

FRIDAY 7/28

FLAMENCO

CAMINOS FLAMENCOS PRESENTS SOLO FLAMENCO

Flamenco guitar is typically presented as an archaic form of traditional music suitable only for background music at high-end Spanish restaurants. But the genre has been evolving. Newer forms of the music, called Nuevo Flamenco, get blended with jazz, Middle Eastern, rock, and bossa nova. Caminos Flamencos, a nonprofit in San Francisco, seeks to bridge the gap between traditional and Nuevo Flamenco. They are bringing their show Solo Flamenco to the Kuumbwa. The music for this event is composed and arranged by Caminos Flamencos guitarist El Rubio, and choreographed by Yaelisa. It’ll be an evening that includes cross-generational flamenco guitar, raw and improvised. AC

INFO: 7 p.m. Kuumbwa Jazz Center, 320 #2 Cedar St., Santa Cruz. $25/adv, $30/door. 427-2227

SATURDAY 7/29

FOLK

AMANDA WEST

Working at the “unusual intersection where music and motherhood meet,” singer-songwriter Amanda West takes an existential approach to crafting songs. Through her music, she explores what it means to be human and how to fully live the life we’re given—something West contemplated deeply after surviving a serious car accident. A longtime musician who grew up singing and playing, West blends folk music styles and a sweet voice with consciousness about social and environmental issues, and a drive to embrace music as a form of personal and cultural healing. CJ

INFO: 8 p.m. Lille Aeske, 13160 Hwy. 9, Boulder Creek. $20. 703-4183.

SUNDAY 7/30

BLUES

JIMMY THACKERY

Moe’s afternoon blues series has been doing a great job of bringing in blues legends at a reasonable hour. This week, it features blues-rock singer/guitarist Jimmy Thackery, who’s been tearing up stages since the early ’70s. He started at 14 with Washington D.C,’s the Nighthawks, who gave blues a hard-driving roots-rock edge. Thackery went solo in 1986. His music is much closer to the blues, complemented by his weathered voice that sounds like a man on the edge trying to hold himself up with what little strength he has left. AC

INFO: 4 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $15/adv, $20/door. 479-1854.

SUNDAY 7/30

GOSPEL

EAGLE ROCK GOSPEL SINGERS

You don’t hear the names Washington Phillips, the Dixie Hummingbirds and Sister Rosetta Tharpe thrown around too much these days. But the Eagle Rock Gospel Singers aim to change that. Hailing from Los Angeles, the group began as a loose collective of more than a dozen friends and has evolved into an outfit of six committed artists. By reviving the roots of the gospel music, the Singers introduce the spirit and music to new audiences. The group also works to bridge the divide between today’s American roots and gospel-influenced acts, such as the Black Keys and Wilco, and the pioneers that popularized the genre. CJ

INFO: 7 p.m. Don Quixote’s, 6275 Hwy. 9, Felton. $10. 335-2800.

MONDAY 7/31

JAZZ

LAVAY SMITH & HER RED HOT SKILLET LICKERS

Although big bandleader and jazz legend, Edward “Duke” Ellington, has been dead for the past 43 years, his mark on American music is immortal—and Lavay Smith knows this. The Californian jazz and blues singer—along with her “little big band,” the eight-piece Red Hot Skillet Lickers—will celebrate the maestro’s biggest hits and hidden gems. MW

INFO: 7 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $25/adv, $30/door. 427-2227.

TUESDAY 8/1

METAL

GOJIRA

What do you think of when someone says “extreme metal?” If, for some reason, your answers are “France” and “environmental-themed lyrics,” then you are in luck, ’cause Gojira is coming to town. The band has gone from cult sensation to a big star in the metal scene in recent years, crafting a sound that is both fire-in-your-belly intense and extremely accessible, with catchy scream-sings, anthemic choruses, and technically proficient, high-speed chops. AC

INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $30/adv, $35/door. 429-4135.


IN THE QUEUE

MARTY O’REILLY & THE OLD SOUL ORCHESTRA

Homegrown roots, rock, gospel and blues. Thursday at Crepe Place

LOS LOBOS

Legendary Los Angeles-based rock and roll band. Friday at Beach Boardwalk

LA MISA NEGRA

Eight-piece cumbia outfit out of Oakland. Saturday at Moe’s Alley

MOONALICE

Psychedelic roots-rock. Saturday at Don Quixote’s

TAKING BACK SUNDAY

Emo and post-punk from Long Island. Monday at Catalyst

Giveaway: Con Brio

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It’s a new era for the Cabrillo Festival of Contemporary Music. After 25 years with Maestra Marin Alsop at the helm, the baton has been passed to Maestro Cristian Macelaru. The 2017 season features seven world premieres, eleven composers in residence, a guest appearance by Evelyn Glennie, and tributes honoring Lou Harrison’s centenary and John Adams’ 70th birthday. On Friday, Aug. 11, the festival presents a West Coast premiere of William Bolcom’s Ninth Symphony; a U.S. premiere of Gerald Barry’s “Piano Concerto; Jörg Widmann’s Con Brio,” which has been described as an “exercise in fury and rhythmic insistence”; and Cindy McTee’s Symphony No. 1: Ballet for Orchestra. 


INFO: 8 p.m. Friday, Aug. 11. Santa Cruz Civic Auditorium, 307 Church St., Santa Cruz. $37-$65. 426-6966. WANT TO GO? Go to santacruz.com/giveaways before 11 a.m. on Friday, Aug. 4 to find out how you could win a pair of tickets to the show.

Love Your Local Band: Dusted Angel

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With loud, heavy riffs full of heart, Dusted Angel is everything a hard rock fan wants in a band. And that’s because Dusted Angel is made up of fans themselves.

“We’re at an age where we play things we’d want to hear,” says lead singer Clifford Dinsmore. “It’s a weird hybrid of everything we’ve ever been into.”

Formed while they were teenagers by Scott Stevens and Eric Fieber on guitar, and Elliot Young on bass, Dusted Angel officially solidified in 2008 when they added Dinsmore on vocals and Steve Ilse on drums. The five friends quickly began writing material and performing around town, even releasing a seven-inch single on vinyl in 2009. Unlike Dinsmore’s other band, the influential Santa Cruz hardcore group Bl’ast!, Dusted Angel is more rhythm driven, with longer riffs and stoner beats. This is for fans who like their Black Sabbath dipped in St. Vitus, and deep fried in Melvins.

“Personally, I feel like Dusted Angel is more ‘age appropriate,’” says Dinsmore. “Where Bl’ast! is so technical and all over the place, with Dusted Angel I give myself plenty of room to breathe.”

Since their inception, Dusted Angel has consistently drawn large crowds whenever they play in town, or on the road with bands like Fu Manchu and, unsurprisingly, the Melvins. Yet to this day, they still have only one recording, and Dusted Angel has become something of a local legend due to the scarcity of their shows. It’s an image the band wants to change, but a couple of years ago, Dinsmore was in a near-fatal car collision that left him with a fractured sternum and a long, drawn-out recovery.

“That’s what really set us back,” he remembers. “Once you get away from the discipline of practicing, it’s easy to let it fade away.”

Since then, the band has steadily picked up momentum, practicing more and playing several shows until another setback hit—Stevens recently learned he will need surgery on his hands, which means they’ll only have one guitar for their upcoming show.

However, not all is lost. Loyal fans can look forward to a new full-length Dusted Angel album they plan to record once Stevens has fully recovered.

“There could be a couple of songs that come out on a seven-inch first,” Dinsmore says. “But things might be on hold for a minute.”


INFO: 6pm. Portuguese Community Hall, 216 Evergreen St., Santa Cruz. $10. 423-7753.

NextSpace Now Under New Ownership

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NextSpace, founded in 2008 by Jeremy Neuner, Ryan Coonerty and Caleb Baskin—was put up for sale. And, for the past few weeks, it’s been under the watch of Pacific Workplaces, which has 18 locations that span from Carlsbad, California to Reno, Nevada. And now, Santa Cruz.

It’s a big shake-up for the local tech scene.

“Hindsight’s 20/20,” says Kurt Grutzmacher, who served as NextSpace’s third, and ultimately final, CEO. “We have a lot of things we’re pretty proud of. Maybe we tried to grow too fast. But again, that’s hindsight. There are probably a number of reasons why we could have been incredibly successful or not. I don’t think you can point to any one thing. It’s been a nine-year run.”

At a NextSpace happy hour on Friday, July 21, managers of Pacific Workplaces told members they would no longer be able to freely visit the San Jose and Berkeley NextSpace locations, at least in the short term. But the new parent company is exploring ways to make its 17 other locations available to NextSpace members, possibly for a fee. The management also promises technological upgrades soon, allowing people to more easily teleconference via the systems set up by Pacific Workplaces, which now owns those San Jose and Berkeley NextSpace locations as well.

The six other NextSpace locations—Venice Beach, Culver City, Chicago, an additional San Jose location and two in San Francisco—all closed in the past year or changed hands, most of them in the weeks before the sale.

Many members are interested to see what new ownership brings, and Coonerty, who served on NextSpace’s board, says he looks forward to remaining a member.

NextSpace launched during the early days of coworking, an idea that has evolved from a buzzword into a way of life, with Santa Cruz sometimes on the cutting edge.

Laurent Dhollande, CEO of Pacific Workspaces, calls NextSpace “legendary” and says his company learned from NextSpace’s approach. “NextSpace was an incredible success for the community. It was less of a commercial success,” he says.

With the help of Santa Cruz Sentinel columnist Wallace Baine, Neuner, the onetime NextSpace CEO, and Coonerty, now the District 1 county supervisor, co-wrote a book called The Rise of the Naked Economy: How to Benefit from the Changing Workplace. Neuner now works at Google with the department of Real Estate and Workspaces (REWS), espousing the benefits of coworking.

There’s no telling what decisions pointed toward the eventual sale, or when the company started down the path that led to that point. Did expansion a few years ago force the local company to lose sight of the region where it truly thrived? Neuner doesn’t think so.

“That was our model, to expand into other markets in San Francisco and Los Angeles and even Chicago,” says Neuner, who was CEO through 2014.

Grutzmacher says that at the end of the day, it all comes down to money, and with increased competition from well-funded alternatives popping up around the nation, NextSpace would have needed a lot of it. They realized it too late.

“The industry was evolving, and there were lot of things happening at the same time, and raising money is a full-time job,” says Grutzmacher, the company’s lead investor, who took over as CEO in early 2016, a little more than a year after Neuner moved on. “We were concentrating on the business.”

This, he adds, is all part of the world of investing. “Nothing is guaranteed,” he says. “Just make sure your winners are bigger than your losers.”

There’s no word on the size of the payoff, which is confidential. Generally speaking, though, shuttering several locations while selling everything else doesn’t scream massive profits.

“I’ll keep my day job,” Coonerty says. 

Stripe Owner Suna Lock Leaves Her Mark on Santa Cruz Design

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As she leads me around her two downtown stores, Suna Lock giggles with joy at some of her more unusual acquisitions, many of which she picked up from surprising places—including even the city dump—before putting them out for sale at her Walnut Avenue shops. A few doors apart from one another, many people know Stripe and Stripe Men for their brand of eclecticism, which is eight years strong, thanks to Lock and her partner Dana Rader.

At Stripe, the practical-minded can peruse jewelry, clothing, mugs, and perfume. At Stripe Men, those seeking strangeness will find a collection of aspen sticks, a fine assortment of desiccated animal jaws and vintage glass insulators with original dirt inside. Two huge model planes hang from the ceiling, which Lock and Rader found at an estate sale.

Yet Lock’s bigger impact locally may be in Stripe Design Services, the design company she founded, and through which she’s leaving her fingerprints all over Santa Cruz, from midtown to the Westside. She’s created interior spaces for businesses like Venus Spirits, Lifeaid, Santa Cruz Bicycles, and the Pacific Collegiate School. More recently, she handled aesthetics for Mexican restaurant Jaguar and Humble Sea Brewing—a hub of tastefully managed nautical motifs—both of which opened this year. She has also worked on Birichino, a wine bar whose owners hope to open soon on Church Street.

Originally from London, Lock developed an affinity for Santa Cruz while interning at UCSC in 1988 and ’90. “I said, if I ever came to the States, it would be Santa Cruz,” says Lock, who’s 43 and has two children, 11 and 13. She married for the second time this summer.

Lock started Stripe Design in Santa Cruz in 2003, a few years before becoming president of the Santa Cruz Downtown Association in 2009, where she was part of a major rebranding and the sidewalk kiosk initiative. When her term with the DTA ended this year, she joined the Santa Cruz Arts Commission.

Her store is decorated with found objects and a collection of skeleton keys. One of the changing rooms is wallpapered with someone’s lifetime correspondence, which Lock found in a box at the flea market. From inside the dressing room walls, a shopper can trace the woman’s entire adult life, from when she first left home, to when her husband goes off to war, then comes back, right up to when her own children leave home. “She kept everything,” says Lock, who opened the original Stripe store in 2009. “It’s her life on the walls of the dressing room.” It’s a wonderful and arresting piece of voyeurism, and Lock admits, “some people are arguably in there longer than they should be.”

Though it isn’t their stated purpose, the stores serve as an entrée to the design business.

It just happens to work that way, she says. “People come in, like the aesthetic of the eclectic Stripe and Stripe Men stores, and naturally begin to wonder: What if my whole house looked like that?” says Lock, who calls the stores a “physical portfolio” for her design work, with their diverse collection of found, new, and locally made items. “It’s the perfect vehicle. The stores are an extraordinary playground, where we can do anything we like. I can go bananas and express myself creatively.”

Just as Stripe stores can’t be pinned to any one theme or genre, Stripe Design doesn’t claim to be retro, mid-century modern, wine country, or any one of a hundred other styles currently in vogue. In fact, Lock prides herself on being anti-trend. “My aesthetic is the quantifying factor,” she says. “It doesn’t need any other restriction.”

Her clients are as varied as her tastes. She designed Venus Spirits on Swift Street, built to resemble a 1940s speakeasy. The maritime-inspired Humble Sea Brewing features light bulbs hanging from ropes strung overhead and royal blue walls that pop beside the white ceiling. For the Santa Cruz Bicycles, which is housed in the old Wrigley building, she designed a freight elevator with couches, leopard-skin carpets and a “Mad Men”-style bar, replete with a stack of ’60s Playboy magazines. The company loved the elevator lounge—the fire marshal, not so much. (Although it’s no longer in use, a photo of it is on the Stripe website.)

Her true value goes beyond what she brings as a designer, according to Sean Venus, founder of Venus Spirits.

“What I find most endearing about Suna is that she’s a bridge to the community,” Venus says. “She’s a great designer, but she also connects clients with local artists and people that can help with the project logistically. She also helped us navigate the politics. She’s a great networker.”

Casual observers may wonder: Will Stripe stores ever become another Anthropologie? And will Stripe Design become a mainstream interior house design firm? Lock finds the very idea terrifying. “I have a fear of our stores propagating, and losing control over curation. I look at Anthropologie, in terms of a competitive business analogy. They’ve lost something. It’s very disappointing. If those words were ever said about Stripe, part of me would die.”

Those who haven’t noticed Stripe’s impact on the look of Santa Cruz shouldn’t be surprised—it’s by design. “I think it’s really important that no one can walk in and say, ‘Stripe designed this.’ If you have a signature color, then everyone knows it’s you. It’s not about us—it’s about good design.”

Theater Review: Cabrillo Stage’s ‘Beauty and the Beast’

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Staging Disney’s Beauty and the Beast for live theater is a massive undertaking. Along with the usual lavish musical production numbers, this story calls for magical spells, onstage transformations, aerial effects, video projections, and not one, but two savage wolf pack attacks. Just getting this unwieldy thing up onstage, with live actors and no CGI effects, is not a task for the faint-hearted. The trick is to make all of these intricate components work without overwhelming the love story at the show’s heart.

The ambitious new production at Cabrillo Stage works hard to maintain this delicate balance, and is reasonably successful. There were bound to be a few technical difficulties on opening night, but that’s the great thing about live theater: every new performance is a fresh start!

The good news is director-choreographer Janie Scott’s production is a trio of strong performances at its heart—Mathew Taylor as Beast, Emily Mairi Marsilia as Belle, and Carmichael James Blankenship as the narcissistic villain, Gaston. There are many other noteworthy performers in the ensemble, but it’s up to these three to sell the story. If they don’t, all the effects in the world won’t help. But if they do—as they did with gusto on opening night—then the glitches don’t matter so much.

As the title implies, this is the Disney version of the 300-year-old fairy tale, based on the studio’s hit 1991 cartoon feature. In Linda Woolverton’s book (she also scripted the movie), Belle is considered “odd” in her French country village for reading books and not being married. Gaston, a preening, muscle-bound lout, means to wed her because she’s “the prettiest girl in the village”—while keeping up his dalliances with the other fawning village girls.

Vain, pompous, belligerent Gaston is a horrible character, but a great role. And Blankenship is perfect, with his outsized, comic stage presence and powerhouse singing voice.

Belle adores her sweet-natured father, Maurice (Richard Dwyer), a somewhat dotty inventor who gets lost in the forest and stumbles into the castle occupied by Beast. In this version, he does not steal a rose; Beast throws him in the dungeon for no particular reason, and Belle braves the forest to get him released—which Beast only agrees to if she takes her father’s place.

The castle is full of talking, singing, and dancing objects that used to be human servants, changed into tableware and furniture in the same witch’s curse that turned their selfish young prince into Beast (the prologue that opens the show). Only if Beast falls in love with a woman and earns her love back will they all regain their human forms, so they’re constantly encouraging the at-first-reluctant couple.

Marsilia (last seen at CS as Mary Poppins) plays Belle as an independent young spinster; she has a beautiful voice and her emotions are true. But Taylor’s ferocious Beast anchors the emotional story, spitting out his lines with husky menace, or unexpectedly hilarious when throwing a hissy-fit. He matures into rumbling nobility with a couple of powerful solos.

Nick Rodrigues is completely charming as chipper candlestick Lumiere, especially leading the ensemble in the rousing “Be Our Guest” production number. Jordan Pierini as fussy Cogsworth, the Clock, and Angela Cesena as the operatic Wardrobe are also quite good. Mike Saenz is a funny, apparently boneless physical clown as LeFou, Gaston’s toady, and chief punching-bag.

Most opening-night glitches were from mics being smacked during the action, and some sketchy wire work. I guess the idea of using wires during the second wolf attack is so Beast, in his fury, can hurl one across the stage, but it’s a cartoony idea that doesn’t translate well; the choreography might work better without wires. On the other hand, while the audience held its collective breath in the finale, with Beast spinning precariously above the stage, his transformation was triumphant. (Or not, if, like me, you don’t want  soulful Beast to turn back into the handsome prince.)

Overall, credits are up to the usual high CS standards, with special kudos to Scenic Designer Skip Epperson’s multitasking revolving castle, and the lovely rose-bordered title scrim, like a page out of an illuminated manuscript.


The Cabrillo Stage production of Disney’s Beauty and the Beast plays through August 13 at the Crocker Theater, Cabrillo College. For ticket info, call 831 479-6154, or visit cabrillostage.com

Film Review: ‘Dunkirk’

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Think of the different battlefronts in World War II. Now choose the one you are the gladdest that you missed. The Golden Staircase in New Guinea? Saipan? The Ruhr cities under the RAF night bombing missions, or the London blitz? That great engineer of cage-rattling cinema, Christopher Nolan, convinces you that Dunkirk ought to be way up on the list.

On the cusp of May and June 1940, tens of thousands of troops from the British Expeditionary Force were pushed to the sea at the resort town of Dunkirk, France, by the sudden collapse of the French army. A character here describes the soldiers, lined up and waiting to be ferried back home, as “fish in a barrel.” It’s more like the machine-gunning of a sardine can. Strafing planes and dive bombers decimated the crowd waiting for rescue.  

Nolan makes up a triptych with war’s relativity—time stretching or standing still in the presence of death. It’s one hour with a patrolling Spitfire pilot called Farrier (Tom Hardy, muffled with an oxygen mask—Nolan masked him again, after The Dark Knight Rises). We spend one day with Mr. Dawson (Mark Rylance), the captain of the pleasure boat The Moonstone, wearing a sweater and tie into the war zone, just one of that motley armada of seacraft requisitioned by the Royal Navy. And we spend a week with some nigh-mute soldiers (Fionn Whitehead, Harry Styles and Damien Bonnard) who have an unspoken compact to escape together. In different combos, these soldiers pose as medics, and then they survive one shipwreck, then another, and then another. Part of their traumatic journey is spent hiding in a ship, waiting for the tide to rise as bullets burst through the bulkheads—it’s as much of a wringer as the scene in Das Boot when the water pressure blew the rivets out like .45 slugs.

If it’s less cohesive than the James Ensor-worthy horror carnival in Atonement (2008), Dunkirk is an ordeal in which every facet is stomach-turning with tension. Nolan’s borrowing from Hitchcock is a series of studies of the cornfield scene in North by Northwest, with a plane’s machine guns taking your measure as they wheel and descend. Hans Zimmer’s slow rumblings—often drowning out the dialogue—winch up the nerves. Hoyte van Hoytema’s photography is an eerie blue-white palette that looks like the afterlife has already begun. The depth of field is especially powerful in the scenes of Farrier’s pursuit of the Luftwaffe planes. I can’t recall a WWII flying spectacle cut with such power. We get claustrophobic in a cockpit, as Farrier tries to reckon his remaining fuel with a smashed gas gauge. It all seems so uncertain: the gilded flicker of the gun sight’s spiked circlet when the sun strikes it, the frustration of shooting and shooting and not striking.

Nolan said he favors action over character, here; in this situation where fleeing or standing fast give you the same slim chances, it’s a movie about who will survive. Rylance gives the most performance with the least material; facing danger on both legs of the trip after he picks up an unstable lone survivor (Cillian Murphy, billed as “Shivering Soldier”). Dawson has the sort of bravery that’s a close kin to shock. At the end, when he wordlessly nods at an obituary in the local paper, one judges that this nod is as much as he will ever say about the war for the rest of his life. Kenneth Branagh, hired for our memories of Henry V, glowers at the horizon line, but there’s little payoff. He ends up playing a war memorial, really, when the film commences its fulsomely elegiac last stage.

Dunkirk misses the grim humor in Len Deighton’s histories of the war, or some other indication of how the Miracle of Dunkirk proves the importance of being lucky over being smart. Churchill propagandized a humiliating retreat as a brave regrouping, in one of his noblest speeches—his words are read aloud haltingly from a newspaper at the end of the movie. Our last shot of a survivor’s look of wonder, realizing the size of the feat. One could just as easily have finished with a caption: “And then, the war began in earnest.”


Dunkirk

Written and directed by Christopher Nolan. Starring Fionn Whitehead, Tom Glynn-Carney, Kenneth Branagh and Cillian Murphy. PG-13, 120 mins.

 

 

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