The Valerie V Vibe: “A Vocal Valentine”
Sacramento Theatre Company (Feb. 11)
The Great American Songbook—you know, Gershwin, Cole Porter and the like—contains some of the most memorable love songs ever written, with rich, clever lyrics and gorgeous melodies. Those amazing tunes, coupled with songs by local writer/marketing consultant Ed Goldman (who writes for this magazine, as a matter of fact), will be in the mix when songstress Valerie V and her three-member Vibe (sax, drums, keys/bass) perform at Sacramento Theatre Company’s intimate cabaret.
Casino Resort (Feb. 13–14)
With her warm, velvety voice and such sensuous songs as “Feel Like Makin’ Love” and “The Closer I Get to You,” Roberta Flack and romance go hand-in-hand. The R&B legend will perform at Cache Creek for two nights, so go ahead: Book a room at the casino’s hotel while you’re at it.
The Folsom Symphony: “Tales of Love”
Harris Center at Folsom Lake College (Feb. 14)
Mendelssohn’s “Wedding March” and John Williams’ “Across the Stars” are just two of the lushly romantic works on tap when the Folsom Symphony presents “Tales of Love.” Guest violinist Linda Wang, known for her charisma and consummate artistry, promises to elevate the evening into something special, especially since the setting is Harris Center, a real gem.
PETER PAN’ FLIES INTO SACRAMENTO
The back story may be as irresistible as the main one: A choreographer who refuses to grow old has created a new ballet about a boy who won’t grow up.
Ron Cunningham—who, at 75, is the seemingly ageless co-artistic director of Sacramento Ballet—will present his version of “Peter Pan,” the 113-year-old J.M. Barrie classic, at Sacramento Community Center Theater Feb. 13–15. (De-tails are at sacballet.org.) “I’ve wanted to do ‘Peter Pan’ for a very long time,” he says. “It’s a story all of us grew up seeing as a play, a TV show or the Disney movie. It’s iconic, plain and simple.”
Whenever one of his ballets targets a family audience, Cunningham says he likes to kid-test it for authenticity. “Adults may give you a rip-roaring ovation if they love something you do, but they’ll also give you polite applause if they think it isn’t all that good,” he says. “Kids are far more honest. If you stage what you think is a funny scene but they don’t find it funny, they’ll just tell you: ‘That wasn’t very funny.’”
Cunningham is especially excited about the show’s music by the prolific Italian composer Silvio Amato, 53, who’s just moved to the United States. “People will leave the theater whistling the tunes,” he says. But certainly no older.—ED GOLDMAN