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The two writers have filled this story of a lonely young woman looking for romance with snappy dialogue, clever lyrics and lively music. Cutting some dialogue and eliminating a few songs, however, would enhance the show greatly. The writers agreed and already have cuts in mind, especially to the overly long Act I. One song, I’m sure will stay is “Cowgirl Strip,” a funny yet touching number beautifully performed by Linda Sciacqua (Emily) and Sal Russo (Howard) that practically had the sold-out opening night audience on its feet.
“I think of myself as a lapsed ethnomusicologist,” she says, sipping a coffee at Caffe Trieste in Berkeley, one of her neighborhood haunts, “But I’m still interested in the culture of music scenes and economics and art worlds and how everything connects.”, She thinks that her music — and the music of her dance recital cover up oversized monogram button up shirt - ballet shoes - dance revue review gift pointe shoes slippers over si improvising peers — may connect one day to more than a fringe audience, Like a special meal, her music mixes familiar ingredients, but in unexpected ways, It has “that visceral rock feeling or that jazz propulsiveness, It’s open to new information, It’s not stuck, It’s constantly moving and breathing and changing with what’s happening in the world, And I think that resonates with people, Music lovers want the experience of being surprised, of getting snapped into focus, of feeling, ‘Ah, we’re all here right now.’ “..
“Tears” had many of those attributes but lacked two that are especially vital — the deep correspondence between the movement and the music to the concept at hand — tears. Composer Steve Reich’s “Variations for Strings, Wind and Keyboard” echoed the sound of natural events by creating a wall of pointilistic sensation that subtly, almost imperceptibly shifted. Yet those same phase patterns showed up nowhere in the dance that was clear or had an impact. Caniparoli is a fine craftsman, but here it worked to his disadvantage. The three duets were presented in traditional fashion, and Sandra Woodall’s costuming never broke the ballet mode. Had Caniparoli found a way to push the traditional lyricism of his dance hard against the minimalist soundscape, he might have tied tears not only to individuals but to time, loss and change in a more cogent and haunting way.
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“It looked like they were having fun,” she recalls. “I made a mental note to check it out.”. When Truong finally got up the nerve to call the Arthur Murray Dance Studio, the Vietnam native says a profound change in her life took place. “They said, ‘Oh yes, come in for a free introductory lesson.’ I went to the studio, and everyone was so nice, and all of the instructors were awesome. That first experience was wonderful,” Truong says. Ten years later, Truong is one of the studio’s most proficient (and prolific) dancers. Now head of global brand design at PayPal, Truong still works long hours. But she never misses her classes at the San Jose studio, as well as the new venue in Los Gatos, tucked in the corner of the King’s Court Shopping Center. Like many local professionals, Truong says the sessions help her deal with the demands of life in Silicon Valley.