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Rustycon rocked-on, despite Mother Nature's wrath

Rustycon rocked-on, despite Mother Nature's wrath
by Rajkhet Dirzhud-Rashid - SGN A&E Writer Rustycon 24 January 12-14 Sea-Tac Holiday Inn The theme was pirates and believe me, there were lots of examples of 'comely wenches' and noble, as well as not so noble buccaneers of the high seas to be seen around the environs of the Sea-Tac Holiday Inn last weekend. And even though the numbers for this year's Rustycon were down from last year -- due, in part to the freezing weather and the fact that many convention-goers were snowed-in after last week's dusting from Mother Nature -- Rustycon still rocked. Housed in a new hotel this year (the Raddison was torn down shortly after last year's Rustycon), things were a bit uncertain at times, with the staff of the Holiday Inn being mostly nice -- save for the desk staff -- which were definitely not happy to have a bunch of rowdy pirates as guests. To be fair, the pirates were only rowdy in play, which makes the behavior of the hotel desk staff that much more questionable. Buzz was -- when I left on Sunday to return to the 'real world' -- that a letter would be written and, maybe, next year, things would be different. One can hope. Still, with a grand offering of workshops and panels, from 'Illustration for Fun and Profit' to a special selection of readings from the late Octavia Butler, as well as several lively room parties; Rustycon didn't disappoint its loyal membership. So, with my photographer, 'Clark Kent' in tow, I sampled a few things and enjoyed dancing with a small but hearty group to 'Rasputin' the yearly favorite, and enjoyed the hospitality and fun of the Biohazard folks at their room party. Also, I picked up a great pirate's hat to complete my costume in the dealer's room and perused some kick-ass art in the art room, which I might have thought of purchasing, had I not shot my wad on that delectable hat which will top my Norwescon costume (so, you can see it was worth it). In all, less folks but still one hell of a time was had and warmed me up for Norwescon, which will be Easter weekend at the Doubletree Sea-Tac, as usual. For more information on dates and times for Norwescon, check out their website at www.Norwescon.org. Modern technology takes us to the Met by Rod Parke - SGN A&E Writer I have never before been as excited to report on an opera performance as I am this time. Allow me to try to describe what was so special about this experience. As we entered the Regal Auburn Stadium 17 cineplex almost an hour before the 10:30am event, the huge screen was already alive, not with ads or previews but with video of soprano Anna Netrebko singing her mad scene from 'I Puritani.' That was the opera we had come to see, not on a recorded video but LIVE from the stage of the Metropolitan Opera in New York City. As she finished, the screen changed to a live hi-def picture of the auditorium at the Met. The NYC ticket holders had not yet been allowed in. Stage hands were working; orchestra players were straggling in. Why was this so exciting? Because it was like we were actually at the Met. Our stadium rows of seats seemed to blend seamlessly into those of the Met! The high-definition satellite picture was as clear as the best movie (although I could sometimes see horizontal lines if I really tried), and the surround sound was terrific. Soon patrons began taking their seats in NYC while our Auburn movie theater filled up. Finally, the theater manager appeared, momentarily silencing the feed from NY and telling us that all 333 seats in this, their largest, theater were sold, and would we please squeeze into any empty seats to leave the aisle seats for the last arrivals. Then the new General Director of the Met, Peter Gelb, came on the screen to welcome us. He was speaking to 30,000 people all over the US, Canada, Japan, and Europe (including the oldest movie palace in Norway, located far north of the Arctic Circle!). As we switched to the broadcast booth at the Met, regular host Margaret Juntwait was joined by famed soprano Beverly Sills for the first of a series of humorous commentaries. They returned during scene changes and intermissions. We also enjoyed two live interviews by soprano Renee Fleming with star Anna Netrebko in her dressing room. The two intermissions included 10-minute breaks (with nothing on the screen) for us to get popcorn (opera with popcorn!!!) and use the plumbing. (The only negative aspect of this whole experience was the sticky, Coke-coated floors that made it hard to move one's feet without a loud smack sound during the music.) As the opera began, we discovered we were in for not only the expected close-ups but also many camera angles that no Met audience member could enjoy. Some shots made us feel like we were members of the chorus, standing next to or behind singers with a perfect view of the prompter, conductor, and the audience behind them! We also got to see the irrepressible Netrebko jumping with energy and excitement as she came off stage after each act. As for the opera itself, this cast allowed the Met to work a miracle and transform a very static opera with a rather silly plot into a thrilling experience. The music was ultra-beautiful, but that alone did not make for a great time. The primary miracle worker of course was Netrebko herself. To begin with, her physical beauty is simply breathtaking, especially in such lavish costumes. (Beverly Sills giggled to point out that the soprano is a Puritan and should properly be wearing "some gray, woolly, itchy number"! But of course this is opera.) Netrebko may have lacked a good trill, but she had everything else in spades. Her stage presence could not have been better, and her voice was utterly gorgeous in all ranges. Add to that seamless and expressive phrasing and a technique that never contorts her face or seems in the least forced. All the other singers were excellent (especially tenor Erik Cutler), but Netrebko is the main reason I look forward to the PBS re-broadcast of this performance. (Seattle's KCTS does not yet have a date for that, but it will be telecasting last week's 'Magic Flute' on its high-definition channel at 6pm and 9pm on January 24th.) 'Magic Flute' did not get a live screening in Washington State, but will finally be shown at Pacific Place in downtown Seattle on Tuesday, January 23rd at 7:30pm. This special 100-minute adaptation is designed especially to appeal to children but does not compromise musical values, beyond some cuts. The audience reaction during the radio broadcast promises that it's a great show. Tickets are available at 206 652-2404; $18 adult, $15 child. The remaining operas slated to be relayed live via satellite in high-definition and surround sound are listed on the Met website (www.metoperafamily.org), where you may also purchase tickets. The nearest theaters to Seattle are in Redmond and Auburn. The next one, 'The First Emperor,' is this Saturday, January 13th, and was composed by Tan Dun, who wrote the music for the movie 'House of Flying Daggers.' Since the satellite relays are live, they begin at 10:30am PST. Not all Met performances are as fabulous as this 'I Puritani,' but those being shown for the first time in movie theaters are sure to at least close to this kind of excitement. Don't miss sexy Russian baritone Dmitri Hvorostovsky and Renee Fleming in 'Eugene Onegin' and heartthrob tenor Juan Diego Florez in 'The Barber of Seville.' Reviewer Rod Parke can be reached at rmp62@columbia.edu.