Safe & Secure Ticket Buying for Walton Arts Center and The Walmart AMP

It’s the day of the concert, you’ve got your ticket and You are about to head out the door for a perfect night out. the Walton Arts Center and Walmart AMP team wants to help make your performance dreams a reality. The first step is making sure you have a valid ticket!

Scalping, the sale of a ticket for an event at a price higher than the face value or the sale of a non-valid ticket, is an illegal act in Arkansas. It’s something that every venue battles. And every patron should follow some simple steps to avoid scalped tickets entirely.

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Tips for Safe Ticket Purchasing:

Purchase only from the venue or their authorized ticketing system. If you don’t know what the authorized ticketing system is for a venue, visit their website first to find that out.

While you are there, do some simple research before you purchase!

• Check on ticket availability from the venue first.

  • That way you know if the show is sold out or if tickets are still available. Sold out shows can run the risk of more scalped tickets on third-party sites because sellers know that patrons are desperate to get tickets.

• Also check the price of tickets from the venue - so know what they should cost and don’t overpay.

If you still decide to purchase from a third-party or resale sites, exercise caution: When doing online searches for tickets – be aware of where those links are sending you.

• Scalpers pay to be listed higher in search. Venues usually can’t – especially non profits

• It’s a good practice to skip the ads listed at the top and actually go to the organic listing.

Also, be a smart consumer when purchasing tickets:

• Don’t advertise how desperate you are to get tickets. That includes posts on social media or in the event listing on social media. That makes you a target for scalpers to reach out to you.

• And if the deal seems too good to be true, it probably is. If you can’t verify it through the venue or if they offer to take any alternative payment method (Amazon gift cards, etc) then pass on it.

Purchasing Tickets for Walmart AMP and Walton Arts Center Events

Walton Arts Center Tickets is the only authorized ticket seller for events at Walton Arts Center, Nadine Baum Studios and the Walmart AMP. In some instances, tours will offer special deals through services like Living Social and Groupon. Those tickets are purchased by the service from our box office and are valid offers. If you ever have questions about whether a ticket offer is valid, you can always call our box office at 479.443.5600.

Please be aware that event tickets for Walton Arts Center venues purchased from third party ticketing sites may be counterfeit and in such cases would not be honored for admission.

In order to avoid problems with counterfeit or invalid tickets, we encourage patrons to ONLY purchase tickets through Walton Arts Center Tickets. Tickets can be purchased online at waltonartscenter.org, in-person at Walton Arts Center’s Box Office, via phone at 479.443.560 or on the WAC Tickets app.

If you’ve purchased scalped tickets - here are a few things you can do…

Know Your Rights

According to Arkansas Code 5-63-201, updated April 2015, re-selling tickets to an entertainment event at a venue in the state of Arkansas at greater than face value plus reasonable fees for processing is illegal. These scalpers have committed a crime to which you are the victim, and you are well within your rights seek retribution.

Steps You Can Take

• Contact your credit card company or your bank as soon as possible and start the process of disputing the charge.

Please note that in some circumstances it might even be prudent to cancel the card used, as the personal information the unauthorized ticket seller has obtained from you cannot be guaranteed as secure.

• Contact the website where you purchased the ticket to alert them about the fraud and request a refund.

Be aware that in some circumstances, they may offer only a partial refund making the amount paid equal to the “box office sale price” plus originally charged fees. You may refuse this partial refund; it is your right to demand a full refund.

• Contact the Consumer Protection Department of the Attorney General’s Office by visiting their website at www.ArkansasAG.gov or by calling (501) 682-2341 or (toll free) (800) 482-8982.

A complaint with the AR Attorney General can be easily filed against the agency or individual. The form can be found online at: http://www.arkansasag.gov/file-a-consumer-complaint/

You may also file a complaint with the Attorney General of the state in which the scalper is located.

• Contact Jennifer Dobrowolski, Box Office Manager for Walton Arts Center, at (479) 571-2709 or jdobrowolski@waltonartscenter.org with the details of your transaction, so we can update our records and do everything within our power to help you get your money back and prevent future fraud activity.

Walton Arts Center Ticketing Policies

The Walton Arts Center is the only authorized ticket seller for events at Walton Arts Center, Nadine Baum Studios and the Walmart AMP. Please exercise caution in purchasing tickets. If you have a question regarding authorized sales, please contact us at (479) 443-5600.

• Be aware that any event tickets purchased from a source other than the Walton Arts Center or the Walmart AMP may not be honored for admission.

• Tickets held at will call for an event require a matching, valid ID to pick up.

• Walton Arts Center and Walmart AMP are not responsible for third party resell tickets.

Our team at Walton Arts Center and the Walmart AMP do everything we can to prevent ticket fraud, and strongly discourage our patrons from purchasing tickets through ticket resellers or third parties.

If you have any questions, we encourage you to call the Box Office at (479) 443-5600 before you buy.

Celebrating 10 Years of the 10x10 Arts Series!

10 Years of Imagination. 10 Years of Innovation. 10 Years of Inspiration. 10 Years of 10x10.

Going into the 10th season of the 10x10 Arts Series, the line up celebrates the diversity of art forms, cultures and expression that will inspire, uplift and challenge patrons. From dueling piano battles to Latin rhythms, riveting theater to classical compositions with a twist, step out of the box with the 10x10 Arts Series!

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Tiempo Libre

Three-time Grammy®-nominated Afro-Caribbean music group Tiempo Libre is one of the hottest Latin bands today.  Tiempo Libre is celebrated for its sophisticated tropical music featuring an irresistible, exhilarating mix of jazz harmonies and seductive Latin rhythms.  

Nobuntu

Nobuntu all share a common goal to promote and preserve ‘ubuntu’, a Nguni word meaning compassion and humanity. In fact the name ‘Nobuntu’ means ‘mother of ubuntu.’

“… joy seems central to Nobuntu's existence: it's present in their glorious singing, their expressive dancing, even in their dress - plaids, stripes, florals in colours as exuberant as their vocals.”

Theatre Re’s The Nature of Forgetting

At the intersection of art and science, The Nature of Forgetting bursts with creativity, joy and heartache. Collaborating with London neuroscientist Kate Jeffery, Theatre Re has created a moving articulation of the countless dimensions of memory and amnesia, linking science with real life experiences.

Piano Battle

The brainchild of internationally acclaimed pianists Andreas Kern and Paul Cibis, the PIANO BATTLE sees the duo go head-to-head on stage, charming and enchanting the audience with a variety of classical pieces. The show is divided into several rounds, each featuring a certain musical style. The two artists, with distinctly different performance techniques, will even go so far as to improvise on the tunes you request. And patrons will help pick a winner at the end of the evening.

Ballet Memphis

Ballet Memphis brings more new works to the stage each season than any other national ballet company of the same size—from fresh new faces such as Garrett Ammon, Mikelle Bruzina, Petr Zhradnicek and Matthew Neenan, to lauded choreographers George Balanchine, Mark Godden, Julia Adam, Dana Tai Soon Burgess and Jane Comfort. Commissioned repertoire of Ballet Memphis also includes works by Trey McIntyre, Lila York, Abou Lagraa, Shapiro and Smith, Robert Battle, Joseph Jefferies and more.

Apollo’s Fire - Baroque Orchestra (Vivaldi’s Four Seasons: Rediscovered)

Named for the classical god of music and the sun, Apollo’s Fire was founded by its Artistic Director Jeannette Sorrell, to revive the baroque ideal that music should evoke the various Affekts or passions in the listeners. Apollo’s Fire is a collection of creative artists who share Sorrell’s passion for drama and rhetoric.

“The U.S.A.’s hottest baroque band.”
–CLASSICAL MUSIC MAGAZINE

Socks in the Frying Pan

Socks in the Frying Pan consists of two brothers, Shane and Fiachra Hayes, as well as Aodán Coyne. This young trio from Country Clare blend Irish traditional melodies with innovative rhythmic and melodic garnish. Having gained a fan-base from four years of gigging around the west of Ireland, the group have recently began branching out with their modern traditional style and energetic approach to music. This, combined with acoustic musical interplay, three-part harmonies and an obvious love for live performances, compliments the traditional essence of both tune and songs in a fresh and entertaining way.

The Real Group

A Swedish vocal group with five dedicated singers and musicians. The group has been touring for more than 30 years and continues to excite a broad audience all over the world. With a unique musical expression in a field between jazz, pop and Northern European choral music, The Real Group is considered one of the leading forces in the world of vocal music. 

Punyah’s Abha

The Hindu epic Ramayana is a story of valor and duty. It is the story of Lord Rama, the legendary prince of the Kosala Kingdom. But it is also the story of Sita, an incarnation of Goddess Lakshmi, a woman who did not blindly follow instructions.

Parshwanath Upadhye, one of the world's most sought-after young dancers of the Indian classical dance form of Bharatanatyam, with his company Punyah Dance Company, retells India's favorite epic with a fresh perspective and focus on it's central female character. Inspired by the book Sita by Devadatt Pattanaik and set in a traditional Margam format, Äbhä pushes the boundaries of traditional Bharatanatyam presentation and storytelling.

AFO 10x10

Soaring strings, crashing symbols and timpani drum rolls to a tumultuous musical crescendo… with a decisive sweep of his baton, internationally acclaimed Maestro Corrado Rovaris will once again lead the Artosphere Festival Orchestra through an enchanting symphonic experience.

Recognized as an important musical voice by American Public Media’s “Performance Today” – the nation’s most popular classical music radio program – the AFO is a dynamic ensemble of young, talented musicians. In their tenth year performing together, these virtuosic artists will showcase fresh interpretations of leading composers in a stunning exhibition that demonstrates the brilliance of classical music.

Love all the 10x10 performances? Be A 10x10 Ambassador!

+ Early access to all 10 performances.
+ The same seats at each performance – and priority purchasing next season!
+ Special invitations to member-only events, including exclusive masterclasses and rehearsals with the artists.
+ A 10x10 Arts Series gift.
+ Free ambassador tickets to select 10x10 Arts Series performances so you can share your 10x10 love with friends and family!
+ Access to 10x10 Creative Conversations and post-show parties with the artists.

For Lovers of Books & Broadway - Broadway Book Club for the 19-20 Season!

If you are looking for a new way to engage with books or Broadway shows ... this is the club for you! Members of the Broadway Book Club (BBC) read books that relate to our Broadway shows, Then meet together and discuss both.

By joining the BBC, you will have access to discounted tickets to the accompanying show as well as an opportunity to join a lively discussion with other BBC members. Choose as many books from the list as you'd like!

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Curator’s Note:

This year we decided to focus on the four titles of our season that are true book adaptations! Each corresponding show has been adapted from a literary source. Examining them through this lens allows us to consider the choices made when adapting the story – and will bring our discussions beyond the ‘which is better’ question to look deeper and analyze the different vehicles through which we experienced the story and consider the unique attributes of both genres.

This can be as simple as looking at what parts of the plot were left out verses what was included, or go as in depth as to examine how the director, set designers, costumers, lighting designers etc created the world of the novel on stage. Connecting the literary title to its musical counterpart will hopefully give audiences a chance to more deeply engage with the experience!

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Escape to Margaritaville

• SHOW DATES: Oct. 22-27, 2019

• BOOK CLUB DATE & TIME: Monday Oct. 28, 6-7:30 pm

• BOOK: Tales from Margaritaville by Jimmy Buffett

Margaritaville may not appear on a map, but it does exist--at least in the brilliantly creative, sometimes slightly skewed imagination of Jimmy Buffett. Tales from Margaritaville is a collection of short stories (some purely fiction, some based in truth) so vividly packed with restless dreamers, wild wanderers, and pure gypsy souls that just reading it is a wild adventure. Travel along with a cowboy named Tully Mars, as he heads from Heartache, Wyoming, to Graceland, and relive the autobiographical odyssey of a third-generation sailor and first-rate musical outlaw. With unforgettable stories that present the true roamer's twin loves--the sea and the road--Tales from Margaritaville is one "smooth sailing book of infinite imagination" (Chicago Sun-Times).

A Christmas Story

• SHOW DATES: Dec. 10-15, 2019

• BOOK CLUB DATE & TIME: Monday Dec. 2, 6-7:30 pm

• BOOK: In God We Trust: All Others Pay Cash by Jean Shepherd
  
  Before Garrison Keillor and Spalding Gray there was Jean Shepherd: a master monologist and writer who spun the materials of his all-American childhood into immensely resonant--and utterly hilarious--works of comic art. In God We Trust: All Others Pay Cash represents one of the peaks of his achievement, a compound of irony, affection and perfect detail that speaks across generations.
  
  In God We Trust, Shepherd's wildly witty reunion with his Indiana hometown, disproves the adage "You can never go back." Bending the ear of Flick, his childhood-buddy-turned-bartender, Shepherd recalls passionately his genuine Red Ryder BB gun, confesses adolescent failure in the arms of Junie Jo Prewitt and relives a story of man against fish that not even Hemingway could rival. From pop art to the World's Fair, Shepherd's subjects speak with a universal irony and are deeply and unabashedly grounded in American Midwestern life, together rendering a wonderfully nostalgic impression of a more innocent era when life was good, fun was clean, and station wagons roamed the earth.

Once On This Island

• SHOW DATES: Feb. 11-16, 2020

• BOOK CLUB DATE & TIME: Monday Feb. 17, 6-7:30 pm

• BOOK: My Love, My Love: or The Peasant Girl by Rosa Guy

Rosa Guy’s tropical retelling of "The Little Mermaid" is the gorgeous, tragic love story of Désirée, a beautiful peasant girl who devotes herself to the handsome, aristocratic young man whose life she has saved. When his upper-class family feels that Désirée’s skin is too dark and her family too poor for a boy destined for power and wealth, Désirée proves that she is willing to give everything for love. This lovely reprint will break your heart.

Born in Trinidad, Rosa Guy has written 15 novels and has received the Coretta Scott King Award, and The New York Times Outstanding Book of the Year citation.

Fiddler On The Roof

• SHOW DATES: April 14 - 19, 2020

• BOOK CLUB DATE & TIME: Monday April 20, 6-7:30 pm

• BOOK: Tevye the Dairyman and the Railroad Stories by Sholem Aleichem

Of all the characters in modern Jewish fiction, the most beloved is Tevye, the compassionate, irrepressible, Bible-quoting dairyman from Anatevka, who has been immortalized in the writings of Sholem Aleichem and in acclaimed and award-winning theatrical and film adaptations.

And no Yiddish writer was more beloved than Tevye’s creator, Sholem Rabinovich (1859–1916), the “Jewish Mark Twain,” who wrote under the pen name of Sholem Aleichem. Beautifully translated by Hillel Halkin, here is Sholem Aleichem’s heartwarming and poignant account of Tevye and his daughters, together with the “Railroad Stories,” 21 tales that examine human nature and modernity as they are perceived by men and women riding the trains from shtetl to shtetl.

Broadway Book Club

Contact our Engagement Coordinator to register for the Broadway Book Club, and you can purchase reduced-price tickets (10% off regular ticket price) to the accompanying show with our Group Sales Coordinator by calling 479.571.2719 or emailing groups@waltonartscenter.org.

Celebrating The Moon - AFO's Performance Will Be Out of this World

Inspired by our connection to the universe and the influence of space themes and pop culture through the decades, the grand compositions to be played by Artosphere Festival Orchestra celebrate the moon in a night not to be missed.

Each selection connects to the greater theme of space for the 10th anniversary of Artosphere, and the finale event includes world-renowned musicians from across our blue planet.

Program:

• Johann Strauss II | The Blue Danube Waltz, Op. 314

• Claudio Monteverdi | Toccata from L’Orfeo

• Johann Sebastian Bach | Passacaglia & Fugue in C minor, BWV 582 
  Transcribed for orchestra by Ottorino Respighi

• Georg Friedrich Händel | Overture to Music for the Royal Fireworks, HWV 35

• Claude Debussy | Clair de lune
  Transcribed for orchestra by André Caplet

• Richard Strauss | Also Sprach Zarathustra Op. 30 (excerpt)

• Giacomo Puccini | Intermezzo from Manon Lescaut

• John Williams | Star Wars Main Theme

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Space-influenced compositions

The Blue Danube Waltz, Op. 314

Originally performed in February 1867 at a concert of the Wiener Männergesangsverein (Vienna Men's Choral Association), it has been one of the most consistently popular pieces of music in the classical repertoire. The specifically Viennese sentiment associated with Strauss's melody has made it an unofficial Austrian national anthem.

The piece was prominently used in Stanley Kubrick's 1968 film 2001: A Space Odyssey. After a leap from humanity's prehistoric past to its spacefaring future, the first two-thirds of The Blue Danube are heard as a space plane approaches and docks with a space station; it concludes while another spacecraft travels from the station to the Moon. The piece is then reprised over the film's closing credits.

Passacaglia & Fugue in C minor, BWV 582 

Passacaglia and Fugue in C minor (BWV 582) is an organ piece by Johann Sebastian Bach. Presumably composed early in Bach's career, it is one of his most important and well-known works, and an important influence on 19th and 20th Century passacaglias: Robert Schumann described the variations of the passacaglia as "intertwined so ingeniously that one can never cease to be amazed." The composition was used by George Lucas in his 1968 USC student film, Electronic Labyrinth: THX 1138 4EB.

Clair de lune

Clair de Lune is French for "light of the moon.” The third and most famous movement of Suite bergamasque is "Clair de lune", in D♭ major. It is marked andante très expressif (at an easy walking pace and very expressive), and to be played mostly pianissimo (very softly). It is not to be confused with the two settings of the poem made by Debussy for voice and piano accompaniment.

Also Sprach Zarathustra Op. 30 

Also sprach Zarathustra, Op. 30 is a tone poem by Richard Strauss, composed in 1896 and inspired by Friedrich Nietzsche's philosophical novel of the same name. The composer conducted its first performance on Nov. 27, 1896 in Frankfurt. A typical performance lasts half an hour.

The initial fanfare – titled "Sunrise" in the composer's program notes – became well-known after its use in Stanley Kubrick's 1968 film 2001: A Space Odyssey.

Star Wars Main Theme

Star Wars is a 1977 instrumental hit single composed and conducted by John Williams. It is the main musical theme of the movie Star Wars. It was performed by the London Symphony Orchestra. The track became a hit in the United States (#10) and Canada (#13) during the fall of that year. The composition draws influence from Erich Wolfgang Korngold's score for the 1942 film Kings Row.

Artosphere Festival Orchestra Celebrates: The Moon

DATE: Saturday, June 29, 8pm

LOCATION: Baum Walker Hall at Walton Arts Center

TICKETS: $10-$49

*Special SEEK ticket offer for students and young professionals - visit waltonartscenter.org/seek/ for more!

Making of the Masterworks - AFO Performs the Classics of Mendelssohn & Brahms

You don’t want to miss the annual Artosphere Festival Orchestra’s Masterworks performance. This year, the orchestra turns to the classics of Mendelssohn and Brahms in their 10x10 Arts Series performance.

Go behind the music, Into the history of these renowned Compositions.

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Felix Mendelssohn | Violin Concerto in E minor, Op. 64

Violin Concerto in E minor, Op. 64, is Mendelssohn’s last large orchestral work. It forms an important part of the violin repertoire and is one of the most popular and most frequently performed violin concertos in history. 

Mendelssohn originally proposed the idea of the violin concerto to Ferdinand David, a close friend and then concertmaster of the Leipzig Gewandhaus Orchestra. Although conceived in 1838, the work took another six years to complete and was not premiered until 1845. During this time, Mendelssohn maintained a regular correspondence with David, who gave him many suggestions. The work itself was one of the foremost violin concertos of the Romantic era and was influential on many other composers.

Although the concerto consists of three movements in a standard fast–slow–fast structure and each movement follows a traditional form, the concerto was innovative and included many novel features for its time. Distinctive aspects include the almost immediate entrance of the violin at the beginning of the work (rather than following an orchestral preview of the first movement's major themes, as was typical in Classical-era concertos) and the through-composed form of the concerto as a whole, in which the three movements are melodically and harmonically connected and played attacca (each movement immediately following the previous one).

The concerto was well received and soon became regarded as one of the greatest violin concertos of all time. The concerto remains popular to this day and has developed a reputation as an essential concerto for all aspiring concert violinists to master, and usually one of the first Romantic era concertos they learn. Many professional violinists have recorded the concerto and the work is regularly performed in concerts and classical music competitions.

Mendelssohn also wrote a virtuoso Concerto for Violin and String Orchestra in D minor between 1821 and 1823, when he was 12 to 14 years old, at the same time that he produced his 12 string symphonies. This work was "rediscovered" and first recorded in 1951 by Yehudi Menuhin.

Johannes Brahms | Symphony No. 3 in F major, Op. 90

The Symphony No. 3 in F major, Op. 90, is a symphony by Johannes Brahms. The work was written in the summer of 1883 at Wiesbaden, nearly six years after he completed his Symphony No. 2. In the interim Brahms had written some of his greatest works, including the Violin Concerto, two overtures (Tragic Overture and Academic Festival Overture) and Piano Concerto No. 2.

The premiere performance was given on December 2, 1883 by the Vienna Philharmonic Orchestra, under the direction of Hans Richter.

Hans Richter, who conducted the premiere of the symphony, proclaimed it to be Brahms' Eroica. The symphony was well received, more so than his Second Symphony. Although Richard Wagner had died earlier that year, the public feud between Brahms and Wagner had not yet subsided. Wagner enthusiasts tried to interfere with the symphony's premiere, and the conflict between the two factions nearly brought about a duel.

The composition was first heard in America at one of Frank Van der Stucken’s “novelty concerts” at New York’s Steinway Hall on October 24, 1884. The Symphony is scored for two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani and strings.

After each performance, Brahms polished his score further, until it was published in May 1884. His friend the influential music critic Eduard Hanslick said, "Many music lovers will prefer the titanic force of the First Symphony; others, the untroubled charm of the Second, but the Third strikes me as being artistically the most nearly perfect.”

10 X 10 ARTS SERIES - Masterworks of Mendelssohn & Brahms

Artosphere Festival Orchestra

DATE: Wednesday, June 26, 7pm

LOCATION: Baum Walker Hall at Walton Arts Center

TICKETS: $10 (plus applicable fees)

Les Misérables Memorialized on Stages Around the World

Do you hear the people sing? Les Mis is on its way to Walton Arts Center. From book to stage, Les Misérables combines history, passion and the dream of One Day More!

Through the many renditions of the story, Victor Hugo’s timeless tale continues to speak volumes to every generation of theater goer.

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THE BOOK

Written by French author Victor Hugo (who also penned The Hunchback Of Notre-Dame), the story takes place in France during the early to mid-19th century, focusing on several characters whose lives intertwine through a series of coincidences and happenstance. So, what’s the plot of Les Miserables?

The story begins in 1815, and mainly follows Jean Valjean, an escaped convict who was sentenced to 19 years in prison after stealing a loaf of bread for his sister, and for attempting to escape incarceration. He tries to begin life anew, but struggles as he is a former convict. Eventually, he is saved by the Bishop of Digne, but is constantly followed by a policeman called Javert, who is suspicious of Valjean's actions and seeking to return him to prison.

THE MUSICAL

Les Misérables was originally released as a French-language concept album, and the first musical-stage adaptation of Les Misérables was presented at the Palais des Sports in 1980. However, the production closed after three months due to that expiry of the booking contract.

In 1983, about six months after producer Cameron Mackintosh had opened Cats on Broadway, he received a copy of the French concept album from director Peter Farago. Farago had been impressed by the work and asked Mackintosh to produce an English-language version of the show. Initially reluctant, Mackintosh eventually agreed. Mackintosh, in conjunction with the Royal Shakespeare Company, assembled a production team to adapt the French musical for a British audience. After two years in development, the English-language version opened in London in October 1985, by the Royal Shakespeare Company at the Barbican Centre, then the London home of the RSC. The success of the West End musical led to a Broadway production.

The London production has run continuously since October 1985, making it the second longest-running musical in the world after The Fantasticks, the second longest-running West End show after The Mousetrap, and the longest-running musical in the West End (followed by The Phantom of the Opera). In 2010, it played its ten-thousandth performance in London, at Queen's Theatre. In October 2010, the show celebrated its 25th anniversary with three productions running in London: the original production at the Queen's Theatre; the 25th Anniversary touring production at its 1985 try-out venue, the Barbican Centre; and the 25th Anniversary concert at London's O2 Arena.

The Broadway production opened March 12, 1987 and ran until May 2003, closing after 6,680 performances. It is the fifth longest-running Broadway show in history and was the second-longest at the time. The show was nominated for 12 Tony Awards and won eight, including Best Musical and Best Original Score.

Subsequently, numerous tours and international and regional productions have been staged, as well as concert and broadcast productions. Several recordings have also been made. A Broadway revival opened in 2006 at the Broadhurst Theatre and closed in 2008, and a second Broadway revival opened in 2014 at the Imperial Theatre and closed in September 2016. The show was placed first in a BBC Radio 2 listener poll of Britain's "Number One Essential Musicals" in 2005, receiving more than 40% of the votes. A film version directed by Tom Hooper was released at the end of 2012 to generally positive reviews as well as numerous awards nominations, winning three Academy Awards, three Golden Globe Awards and four British Academy Film Awards (BAFTA).

Les Misérables

DATE: June 18-23, 2019

LOCATION: Baum Walker Hall at Walton Arts Center

TICKETS: Starting at $38

Family Fun at the Fireworks Spectacular

NOTHING SAYS 4TH OF JULY LIKE FACE PAINTING, SUPERHERO CHARACTERS, S’mores AND OF COURSE, FIREWORKS!

This event gives the community an opportunity to experience a patriotic pops performance at NWA’s premier outdoor amphitheater. SoNA’s concert will celebrate the beauty and grandeur of America and honor our nation’s veterans and those who bravely serve in our nation’s armed forces.

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The city of Rogers and Walmart AMP are hosting a July 4th Fireworks Spectacular complete with great food and family entertainment for all ages!

The family festival will be in the parking lot outside of the Walmart AMP from 5-8 pm. There will be balloon artists, face painters and airbrush tattoo artists. You can also take a selfie with a superhero and play lawn games. 

Local firetrucks will give kids and kids at heart a chance to touch a truck and get an up-close look at the fire engines and talk to the firefighters. 

Come one, come all to the Hershey’s S’mores Station to enjoy the sweet treat of summer and then head into the AMP at 6 pm with music from the Symphony of Northwest Arkansas (SoNA) beginning at 7:30. 

SoNA's patriotic performance is sure to entertain and celebrate the beauty and grandeur of America. The symphony will honor our nation's veterans and those who bravely serve in our nation's armed forces. 

At the conclusion of the SoNA performance, grab a seat on the lawn for the city of Rogers fireworks display at 9:15 pm. The show will last for about 15-20 minutes, and the playlist for the show will be live streamed on KIX 104.

Fireworks Spectacular

An American Salute with Symphony of Northwest Arkansas
Paul Haas, Music Director

DATE: July 4

TIMES: Gates open at 6pm. Music starts at 7:30pm. Fireworks start at 9:15pm.

30 Under 30

TWO WAC TEAM MEMBERS HAVE BEEN INDUCTED INTO THE INTERNATIONAL ASSOCIATION OF VENUE MANAGERS (IAVM) FOUNDATION’S 30 UNDER 30 CLASS OF 2019.

This recognition is given to 30 promising venue industry professionals ages 30 and younger who have illustrated their commitment to the industry and to furthering the operational and mission-focused goals of the venues they serve. 

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Kyle May, Corporate Relations Coordinator

What does it mean to you to be honored as a member of 30 under 30?

As a fundraiser, it means that our organization is really fulfilling its mission through the work that I do. Because the money we raise supports the organization at large along with our arts access and education programming, this award shines a light on the rest of the Walton Arts Center and Walmart AMP team and the wonderful work that they are doing.

What are you most looking forward to when you attend the conference?

I am looking forward to meeting and getting to know other venue professionals from around the country and forming relationships with them that will last beyond the conference walls.

What do you bring to the walton arts Center organization that you are excited to grow/expand with this experience?

I enjoy talking with funders about the in’s and out’s of our industry, and I am excited to gain a deeper understanding and knowledge of the venue industry and find ways to creatively connect with and fundraiser for this organization.

What lessons have you learned in your position that have made you a more well-rounded venue professional?

Relationships are everything. That is one of the important pieces of fundraising continually driven home by our former VP of Development, Missy Kincaid. However, it goes well beyond fundraising into all aspects of this industry as well as beyond work. 

Who would you like to thank for helping you get to this point?

First and foremost, Wendy Riggs and Diana Brown for nominating me for the award and believing that I embodied the goals of IAVM’s 30 Under 30. Second, I want to thank all of the team members of the Walton Arts Center Development Team since I have been working here, most notably my manager Taylor Speegle. I have learned so much these past 4.5 years, not only about development and non-profit administration, but also about life in general. I would definitely not be the professional or person I am today without my team.

Justin Taylor, Events Coordinator

What does it mean to you to be honored as a member of 30 under 30?

It’s exciting! It shows my growth here and how much this company has changed my life and career path.

What are you most looking forward to when attend the conference?

The venue tours! I love seeing other venues and learning how they operate.

What lessons have you learned in your position that has made you a more well-rounded venue professional?

Safety is a huge priority when planning events. Two years ago, I thought this job was just throwing tables down and making them look pretty, but I’ve learned that there are a lot of safety factors to consider.

Who would you like to thank for helping you get to this point?

Karen Percival for never giving up on me and Nick Zazal for introducing me to a whole new world of event and venue management.

OUR VISION AT WALTON ARTS CENTER

Walton Arts Center is proud to be a leader in arts education in Arkansas and the mid-South. By sharing program formats, ideas and results with other arts and education organizations in the state and nation, we strive to insure that arts participation is valued and supported by communities in and beyond Northwest Arkansas.

Capturing the Beauty of Space - Artosphere Photo Competition Finalists

The Artosphere Festival celebrates art, music and nature with exciting performances, activities and events that the whole family can enjoy. Each year, Artosphere spotlights artists and performers from around the world who are inspired by nature, and provides a creative framework for the community to discuss issues of sustainability and environmental awareness.

This year, we asked photographers to show us their perception of space and how space inspires wonder, imagination and innovation. Sharing their vision and photos, the photo contest finalists gave us a look behind their lens.

Mike Price

Artist Statements

Fairy Land Milky Way: My family and I got up around 2:30 in the morning and left our cabin.  We arrived at the Fairy Land Overlook in Bryce Canyon National Park as the Milky Way was nearly vertical. You could see it with the naked eye and it was just so awesome to take in. 

The Big Dipper: This scene was shot much closer to home, over at Kyle's Landing along the Buffalo River.  I had been hiking up Indian Creek that afternoon with a buddy and we did some night shooting at Twin Falls at Camp Orr.  When we arrived back at camp the Big Dipper was in a perfect position straight overhead.  So I got a fire going and we lit the tents and played with some 20-30 second exposures to capture the scene. Kyle's Landing and Steel Creek are some of my favorite places to go in all of Arkansas.

Capitol Reef Milky Way: I had been talking with another photographer who had shot some night scenes I really admired and he steered me toward this one lone scraggly remnant of a tree at Panorama Point.  It was a perfect anchor to the scene.  I also love how the moon light from my over my right shoulder helped light up the foreground.

How does the Artosphere theme of “space” apply to your work?

When I think of "space" I think of the stars, the Milky Way and constellations.  I feel like I captured that feeling and concept with these three pieces.

Craig Underwood

Artist Statements

Solitude: As I walked away from the campground to photograph the Milky Way, I noticed a lone camper.  This was not my intended shot that evening, but I loved the peaceful serenity of this unexpected happenstance.  I used my flashlight to quietly paint the tree above his tent, doing my best not to disturb the tranquility of the night.  And then I silently moved on.

Mourning Trees: A close family member had unexpectedly passed away and a thick fog had crept in overnight.  Taking an early morning walk to clear my thoughts, I found myself drawn to this scene. 

The Dance: Every time I view this image, I can’t help but be mesmerized by the flow, rhythm and harmony of Antelope Canyon’s solid rock formations.  I see a lady spinning on the dance floor with her cape flung open wide and the spotlights gleaming in the background.

How does the Artosphere theme of “space” apply to your work?

While there are many areas of photography I enjoy, landscape photography is my favorite.  I love the wide open space of the great outdoors.  Whether it the soaring majestic beauty of the Rocky Mountains or the narrow confines of a waterfall ravine in the Buffalo river valley, these spaces are treasures to experience.

What do you hope the viewer experiences as they take in your work? What message do you hope it conveys?  

More than anything, I hope my images evoke some type of emotion.  When they view “Solitude” maybe they will feel a since of inner peace.  When they view “The Dance” they might feel the wonderment of discovery and when they view “Mourning Trees” they might feel the sadness and sorrow that comes from unexpected loss.

Maurice Konkle

What connected you to the spaces/places In YOur Photos?

Sometimes I go searching for objects and the space between them.  Often this leads me to buildings and sky, or weather-vanes and chimneys, or marble monuments and bits of chiseled text.  Other times I happen upon the image, the objects and space just jump out to me.  I don’t necessarily like the “searched for” less or more than the “happened upon.”  The photos chosen by Artosphere both jumped out to me.  I am the designated grill operator at my daughter’s and son-in-law’s house.  I saw this image while performing my duties.   As for the lamp and water glass, beautiful light was coming in the living room windows, I was sitting on the couch, I looked over, there it was.

What do you hope the viewer experiences as they take in your work? What message do you hope it conveys?

Most of all, when a viewer looks at my work, I hope they experience a “sense of beauty.” I have loved that phrase, “sense of beauty,” for many years.  It seems to describe a precious human faculty and at the same time the experience that faculty allows.  So, a sense of beauty is my hope for the viewer. 

Beyond that, I hope that people say “the little rectangular section of the world chosen by this photographer is interesting.”  Not only because the framing of objects is a bit unusual but also, because it shifts focus away from the center, out to edges, then maybe, comfortably between the two.  I hope that is a visual metaphor that gives the viewer some delight, during direct perception and in the after-image. 

Artosphere Photography Contest

Three photos have also been selected for a community choice competition. These photos will be voted on via social media and in-person at community events June 1-9, and the winner will be announced June 10.

History Resounds in Timeless Les Misérables

The Inspiration

Les Misérables is a musical based on the novel of the same name by French poet and playwright, Victor Hugo. The 1862 novel is considered by many to be one of the greatest novels of the nineteenth century.

French songwriter, Alain Boublil, had the inspiration to adapt Hugo's novel into a musical while at a performance of the musical Oliver! in London. When the Artful Dodger appeared on stage, the idea of Gavroche narrating the story of Les Misérables came to mind. He pitched the concept to composer, Claude-Michel Schönberg, who then began developing a rough synopsis.

Becoming the World’s Longest Running Musical

Les Misérables, a sung-through musical based on the novel of the same name, had its world premiere in 1980 at the Palais des Sports in Paris. The production was directed by filmmaker Robert Hossein and ran for over 100 performances.

Following the world premiere run of the original French version, Herbert Kretzmer and James Fenton were given the task of adapting the material into English. This new version, produced by Cameron Mackintosh and directed by Trevor Nunn and John Caird, opened on October 8, 1985, at the Barbican Arts Centre in London. The original cast included such notables as Colm Wilkinson, Michael Ball and Patti LuPone.

On December 4, 1985, the world premiere production of the English version transferred to the Palace Theatre in London. It eventually moved once more on April 3, 2004, to the Queen's Theatre. It has become the second longest-running musical in the world and the second longest-running show on the West End.

Les Misérables made its journey "across the pond" in December 1986. The musical received its U.S. premiere and out-of-town tryout at the Kennedy Center's Opera House in Washington, D.C. It then premiered on Broadway on March 12, 1987, at The Broadway Theatre. In October 1990, the production moved to the Imperial Theatre, where it subsequently played over 6,500 performances. The original production closed on May 18, 2003, and has become the third longest-running Broadway musical in history.

Only three years later, a limited revival began on November 9, 2006, at the Broadhurst Theatre. This cast included Norm Lewis, Gary Beach and Celia-Keenan Bolger. The production closed in 2008.

Since its premiere in the 1980s, Les Misérables has also received several significant concert performances, international mountings and national U.S. tours. The original North American tour ran for 17 years and over 7,000 performances. As of 2012, four different U.S. national tours have been produced.

Cultural Influence

The musical has had more concurrent productions (15 at one time) than any other musical in history, as confirmed by the Guinness Book of Records.

"Britain's Got Talent" winner and pop culture sensation Susan Boyle performed Fantine's anthem, "I Dreamed a Dream," to worldwide acclaim in 2009. Almost overnight, the taping of her performance became one of the most popular videos on YouTube and has amassed over 200 million views since.

The musical has won over 70 major theater awards, including an Olivier, a Tony and a Grammy.

Les Misérables has been translated into 21 different languages including Flemish, Estonian and Castillian.

A film adaptation of the stage musical, featuring Hugh Jackman and Anne Hathaway, was released in 2012.

Victor Hugo's great classic, Les Misérables, was called "one of the best sellers of the ages." Within 24 hours of publication in 1862, the first Paris edition of 7,000 copies was completely sold out.

After Colm Wilkinson sang "Bring Him Home" from Les Misérables for the first time in rehearsal, director Trevor Nunn said, "See? I told you this show is about God." One of the actors responded, "Yes, but you didn't tell us you engaged him to sing it."

The following recordings are available in English: the Original London Cast, the Original Broadway Cast, the Complete Symphonic Recording, the 10th Anniversary London Concert, the 25th Anniversary UK Tour Cast and the 25th Anniversary London Concert.

Les Misérables

DATE: June 18-23, 2019

The Tony Award-winning musical phenomenon Les Misérables heads to Walton Arts Center, direct from an acclaimed two-and-a-half-year return to Broadway. 

CATS: The Classic Musical, Re-imagined

Andy Blankenbuehler promises his take on dance in the piece will still be “timeless Cats” and plans to bring his sensibilities to the Andrew Lloyd Webber classic.

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“ I use a reference to Halley’s Comet,” says choreographer Andy Blankenbuehler when asked to describe his dance style. “When you see a picture of Halley’s Comet, it leads with a big face and then it trails away. So, what I try to do is I try to hit the front of the movement … that creates a pause, and in the pause, behind it, you have to capture a recognizable picture that when the audience hits the slow motion pause, they see the idea, they see the emotion, they see the character, and then it goes way again.”

Blankenbuehler, choreographer of the most recent production of Cats, hopes to use these pauses and pictures to define character.

“I’m trying to take the show into a new layer of character depth,” he explains. “There was a real tribe mentality of the original production, which was exactly perfect on the heels of Hair and those kinds of shows. That was mesmerizing to watch onstage. I’m interested in them trying to maintain tribe, but then taking a closer look at the individuals that make the tribe.”

Still, Blankenbuehler says the show “isn’t going to be contemporary, like 2016 Cats. It’s going to still be timeless Cats.”

The difference? “I’m trying to add staccato syncopation in many places where it never existed before, whereas Gillian and Andrew’s tendency is this long, melodic line. Long melodic line’s not easy for me,” he admits. “What I’m good at is the stop and start, and so I’m adding a lot of stop and start to the show, making it more guttural.

“For example, Grizabella walks out the first time, and in the original staging, [the cats] all reacted in real time,” explains Blankenbuehler. “What I’m doing in that moment is they hit these stances where the venom is coming out of them, and then in that pause other action is happening; so, it’s like an impressionistic painting, where you see the shape of the cats, and you understand what the one cat who’s moving is thinking.”

But Blankenbuehler is cognizant that with a beloved property, he can’t change too much, and he doesn’t want to. “I’m quoting a lot of Gillian, and the show’s going to look the same design-wise, and it’s going to move the same.

“So many people were like, ‘It was the first show I saw. My mom took me to that show,’” says the choreographer. “I want those people to go back to the show and be like, ‘This is the Cats that I remember, but I don’t remember it being X, Y, Z. I don’t remember it being so complicated. I don’t remember it being so deep. I don’t remember it being so funny.’”

CATS

DATE: May 28-June 2, 2019

Audiences and critics alike are rediscovering this beloved musical with breathtaking music, including one of the most treasured songs in musical theater—"Memory”. CATS tells the story of one magical night when an extraordinary tribe of cats gathers for its annual ball to rejoice and decide which cat will be reborn. 

Emily Brown and the Thing: Beloved Children's Book Comes to Life on Stage for Our Littlest Patrons

Once upon a time, there was a little girl called Emily Brown and an old grey rabbit called Stanley…

Emily Brown, Stanley and The Thing take the stage on Friday, May 10 and we invite audiences ages 3+ to join the fun.

Our youngest patrons can go on a journey with Emily and her companions as they conquer their fears and try to get to bed on time.

Before or after the show, families can expand on the theater experience by doing some of these interactive activities based on the book and the play!

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Family-Fun Activities For Emily Brown and the Thing:

Science

• The Thing only had 100 hamburgers and one small apple for his tea. Can you plan a healthy meal for him?

• Emily Brown and Stanley are trying to sleep when the Thing keeps interrupting them. Why do we need sleep? When do animals sleep? Research and learn about noctural animals!

Art & Music

• Look at the different colors, textures and patterns used in the story. How would you describe them? Can you try to recreate some of them?

• The illustrator created the 'Thing' based on the author's description. Could you design a new 'Thing'?

• Compose a relaxing tune to help the Thing get to sleep at night.

Geography

• Draw a map showing all the places that Emily, Stanley and the Thing go.

Personal, Social, Health and Economic (PSHE) education

• Emily Brown keeps helping the Thing, but he keeps bothering them. How do you think this makes Emily feel?

Emily Brown and the Thing

Friday, May 10, 6:30pm

Starr Theatrer at Walton Arts Center

TICKETS: $9 (kids); $15 (adults)

East Meets West in 6-WIRE's Beautiful Performance at WAC

Co-founders Xiang Gao and Cathy Yang write and play world music, crossover chamber music and jazz - performed with synced visual elements and electronic sound libraries paired with each original composition and arrangement.

The erhu, a Chinese two-stringed violin, is an essential instrument in the East, as the four-stringed violin is in the West. Inspired by the historical connection between the two instruments and by YoYo Ma and his Silk Road Project, the crossover ensemble 6-WIRE was founded by two virtuoso soloists on these instruments. The group celebrates diversity while transforming the way live instrumental music is experienced.

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6-Wire 10x10 Q&A

How did 6-Wire come to be?

Xiang and Cathy were invited to perform in a concert in Washington D.C. and were asked to play a piece together. After the concert, they decided form an ensemble to reunite the violins of the East and West that both shared their origins in ancient Persia. “6-WIRE” refers to the combination of the two strings of the erhu and the four strings of the violin.

Through your instruments, you combine the East and West in your music. What do you appreciate about the unique sounds and cultures of these two regions?

Making music together with the erhu and violin brings out our dual sense of “home” that comes from growing up in China and living in the US. The freedom (and difficulty!) that comes from the erhu’s lack of fingerboard and inherent sliding evokes sounds of Beijing opera, while the violin brings a rich tradition of Western classical works. But even more exciting, in today’s divided world, is bringing these instruments and cultures back together to show the world how connected we really are.

Playing New World music from Ireland, China, the U.S. and more, do you have a favorite style of music to perform? If so, what is it and why?

We don’t have a single favorite style, and our own style is constantly evolving as we explore different instrumentation from around the world.

Pick six words—that start with the letter ‘W’—that best describe your work.

Welcoming, worldly, warm, wholehearted, wild, wired (pun intended)

What is the best advice that you have been given; and what advice would you give to aspiring musicians in the audience?

There is no such thing as being over-prepared. The rewarding fulfillment from a career in music is directly proportional to the sacrifice you give to it.

Whom do you define as visionary; and why?

Yo-Yo Ma, for his Silk Road Project and its ability to connect cultures from around the world and create new forms of expression.

What is the most rewarding thing about being a part of 6-Wire?

It is exciting to pioneer the style of the 21st century by combining influences and traditions from around the world into new works and unique concert programming. We thrive off our audiences’ energy when they hear and experience new combinations of instruments and it only inspires us to break down more barriers between styles.

What are some unique or memorable experiences you’ve had while traveling around the world to share your music?

We have toured in China as well, and it is wonderful to see that Chinese audiences are just as open and enthusiastic about mixing Eastern and Western instruments and styles. We received equally rousing applauses for performances of an American triple concerto commissioned for 6-WIRE and percussion as we did for a Chinese composition in collaboration with numerous Chinese musicians and instruments. While the world focuses on the adversarial nature of US-China relations, we choose to highlight our shared love for the arts and what makes us human.

What message do you hope to send the world via your music?

We believe that sharing music, like stories, and food, promotes understanding and broadened perspective. 6-WIRE’s mission is to break down barriers through new compositions that connect cultures from around the world.

What songs, artists or genres of music are you currently listening to?

Yo-Yo Ma’s Silk Road albums, Piazzolla (Le Grand Tango, Oblivion, 4 Seasons of Buenos Aires), Sibelius Violin Concerto, Jazz Fusion (Chick Corea)

6-WIRE

Part of our 10x10 Arts Series

Thursday, May 9 at 7 pm

A Musical That Will Have You Purring: Celebrate Arkansas Spoke with Grizabella of CATS

CATS is Coming to Walton Arts Center Stage

Actress Keri René Fuller talks about her role as forlorn, ballad singing Grizabella, whose ‘eye twist[s] like a crooked pin’

Article By Marisa Lytle of Celebrate Arkansas

It must be nerve racking to walk up on stage and sing one of the most beloved musical theater songs of all time, feeling the weight of living up to the great iconic Broadway performers who have gone before you. Yet, for Keri René Fuller, who plays the role of Grizabella in the national touring production of Cats, getting to sing Andrew Lloyd Webber’s “Memory” eight times a week is an incredibly rewarding experience that she never thought she would have.

“It’s a very high-pressure moment,” Fuller explains, “because it’s what people wait to hear every night, and these amazing iconic women have sung this song before me. For me to join that canon is hard to wrap my head around. As I’m singing, I’m overwhelmed with gratitude for my role, for the show, for my castmates. I think even though it debuted in the 1980s, the song still resonates in 2019.”

Cats is the winner of seven Tony Awards® including Best Musical and tells the story of one magical night when an extraordinary tribe of cats gathers for its annual ball to rejoice and decide which cat will be reborn. This classic musical with original score by Webber and original scenic and costume design by John Napier has itself been reborn for a new generation with all-new lighting design by Natasha Katz (Aladdin), all-new sound design by Mick Potter, new choreography by Andy Blankenbuehler (Hamilton) based on the original choreography by Gillian Lynne (Phantom), and direction by Trevor Nunn.

Fuller describes her character Grizabella as an incredibly complex character, despite the fact she is only onstage five times throughout the show.  She is full of regret and loneliness, pining for the days of her youth when she was happy and accepted by her tribe. A major plotline of Cats centers on the tribe’s forgiveness of Grizabella and her being chosen by Old Deuteronomy to be sent to the Heaviside Layer to be reborn.

“I learn something new from her every performance,” Fuller says. “Where we find her in the show, she is unapologetically asking for what she wants in life, which is asking to be a part of a tribe of cats that she used to be a part of.” Interestingly, Grizabella the “Glamour Cat” does not appear in T.S. Eliot’s work Old Possum’s Book of Practical Cats on which the musical is based, but rather is the feline version of a woman referenced in Eliot’s poem “Rhapsody on a Windy Night.”

Fuller dances as young, carefree “Baby Griz” in the opening number, but her official entrance is as an old, withered Grizabella whose ragged appearance repulses her fellow Jellicle cats. Fuller says it takes her a full two hours to get into character for Grizabella, including warming up her body and voice, applying her own extensive cat makeup, and putting on her costume consisting of a furry coat, little black dress, unitard, stockings, high heels, gloves, braided tail, cat ears and a curly, gray wig. Fuller has no more than 12 minutes to change from her Baby Griz costume into mature Grizabella.

“Before this production, I never was able to do a cat eye,” she laughs, “but now I can, no problem.”

Fuller says audiences who come see Cats will benefit from taking two-and-a-half hours out of their week to experience a story that’s lighthearted, nostalgic, and multi-generational.

“We’re not all going to be the same,” she says, explaining a central message of Cats. “We’re not all going to receive other people the same way in life. There’s something beautiful about acceptance, and power doesn’t come from taking and taking and taking, but through living a giving lifestyle.”

Meet Keri

Hometown: Bethany, Oklahoma

Career: Has lived three years in NYC, where she works both on Broadway and regionally, as well as leading professional workshops and labs around the city. She is one of the staple voices used in the NYU Graduate Music Theatre Writing Program and performs in their thesis presentations and records demos for both the students’ and professors’ projects.

Broadway credits: Waitress (Francine & Jenna understudy)

Regional credits: Murder Ballad (Sara), Les Misérables (Eponine), Lizzie Borden (Lizzie), Hunchback of Notre Dame (Esmeralda), Dogfight (Rose), A Chorus Line (Maggie).

Hobbies and interests: plants, coffee shops, books, yoga studios/fitness regimens, and friends

CATS

May 28-June 2 | 8 shows

Tickets start at $38.

Tues-Thurs @ 7 pm

Thurs @ 1:30 pm

Fri-Sat @ 8 pm

Sat-Sun @ 2 pm

Get Ready for Art of Wine - Tips, Tricks & Garden Party Outfits

The annual night out that will put you on Cloud Wine is almost here - Art of Wine’s Uncorked event is right around the corner and we are sharing all of the ways to make the most of your experience!

VIP tickets are available for Uncorked and grant you early access to the event and a private lounge with exclusive wines!

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Art of Wine Boutique Partners

Looking for the perfect outfit for our modern garden party? Local boutiques across Northwest Arkansas have partnered with the event to put together easy, gorgeous looks for Uncorked!

Skye on the Town

620 N College Ave #103, Fayetteville, AR 72701

SIRE Boutique

106 S Blair St, Springdale, AR 72764

Art of Wine App

To help patrons remember their favorite wines, the Art of Wine mobile app is back. Easily search for wines by their location at the event, by type and by region then add wines to their favorites, to the wish list within the app or send their wish list to Liquor World.

Pro-Tip, Uncork your Night OUt with:

Art of Wine ACTIVATIONs

Entertainment will be provided by Rozenbridge and DJ Jon Teal.

Rozenbridge is a rockin' folk duo featuring Tim Warden on vocals/guitar and Christian Serrano-Torres on cello. Blending their classical and rock background, their listeners embark into a musical wormhole. Their original style and sound is a refreshing mix of folk, reggae, bluegrass, rock and metal (with a dash of Siracha).

Cocktail Classes Will Be Held Throughout the Event led By Steven Idlet from From Maxine’s Tap Room

Balloon Pop is Back

Your chance to win prizes such as tickets to Walton Arts Center & Walmart AMP shows, wine, merchandise and goodies from local boutiques - and more! All proceeds support arts education and outreach in our region.

Pop Up Shops

Underwoods Fine Jewelers Pop-Up shop will be open during Uncorked! A percentage of the proceeds from the event will fund Walton Arts Center's arts education programming.

Distinctive Dwelling Pop-Up shop will have fun wine and kitchen merchandise pop up shop at Uncorked!

PARTICIPATING RESTAURANTS:

Alchemy Macarons │ Big Orange │ Bordinos │ Briar Rose Bakery │ Catering Unlimited │ Con Quesos Fusion Tacos │ Early Bird Catering │ Elevation at Mt. Sequoyah │ Ella’s Table │ Fellow Coffee │Fork & Crust Pie Co. │ Grotto Wood Fired Grill + Wine Cave │ Local Lime │ Meiji │Nellie B’s Bakery │ Sauced Barbeque & Brews │ Southern Food Company │ Theo’s │ Wood Stone Pizza │ 28 Springs

PARTICIPATING DISTRIBUTORS:

Central Distributors │ Deep Branch Winery │ De Nux Distributor │ Moon Distributors │ Post Familie Vineyards │ Rock Town Distillery │ Sassafras Winery │ Southern Glazer’s │ Wiederkehr Winery

Art of Wine Special Rooms

Bubbles Room dedicated to champagne and sparkling wines that will have you saying, "yes way rosé!" There’s also a space for beer and spirit fans to get “all hopped up” and for the luxury guest, treat yourself in the VIP Tasting in the Reserve Room with premium wines and culinary experiences - you’ll be on cloud wine.

ART OF WINE

Winemaker’s Dinner - Thursday, May 16

Uncorked - Friday, May 17

Proceeds from the Art of Wine Festival support Walton Arts Center, a nonprofit arts presenting organization serving the region for more than 27 years. Each year more than 195,000 community members experience a variety of performing arts at Walton Arts Center and approximately 45,000 school children and teachers in Arkansas participate in our arts education and outreach programs. 

Starrlight Jazz Series Shines in the Upcoming Season

Six incredible performances are lined up for the Starrlight Jazz 2019/20 Season including centennial acts and music legends. With something for every jazz lover, subscriptions are available now and this series is one not to miss.

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FreddY Cole Quartet – Tribute to Nat “King” Cole Centennial

(Four time Grammy nominee, 2019 Grammy Nominee for Best Jazz Vocal Recording)

Freddy Cole is one of American popular music’s great performers. Like pop icon Tony Bennett, Freddy is a beloved musician and a living link to the Great American Songbook.

While there are certain unmistakable similarities in timbre to his brother Nat, his voice is raspier, smokier, jazzier even. In truth, his phrasing is far closer to that of Frank Sinatra or Billie Holiday than that of his brother, and his timing swings even more. His vocals – suave, elegant, formidable, sometimes spoken and articulate – make him the most respected lyrical storyteller in jazz.

Cole’s career continues to ascend as he has moved into the front ranks of America’s homegrown art form with a style and musical sophistication all his own. While evoking the suave styling of Earl “Fatha” Hines and Teddy Wilson, Cole is very much his own man, whose toe-tapping forays recall the bluesy minimalism of Count Basie, the urbane sophistication of George Shearing and the uptown swagger of Duke Ellington.

“Gorgeous autumnal baritone, expressive phrasing and pitch-perfect feel for jazz standards, pop tunes and love ballads.”

– People Magazine

Jason Marsalis Quartet

Jason Marsalis is the youngest sibling of Wynton, Branford and Delfeayo. Together, the four brothers and their patriarch Ellis, comprise New Orleans’ venerable first family of jazz. By age six, not only had Jason gotten his first real drum set, but he was also taking lessons from the legendary New Orleans drummer James Black. At age seven he was sitting in with his father’s jazz group, as well as playing with his trombonist brother, Delfeayo.

Throughout his high school years, he continued to hone his skills by playing gigs with his father and brothers, as well as studying orchestral percussion techniques. Shortly after graduation in 1995, Jason ascended to the drum throne of the group lead by virtuoso pianist Marcus Roberts. In 1998, he co-founded the Latin-jazz group Los Hombres Calientes. Jason left the Los Hombres group to attain more focus with the Marcus Roberts trio in 2000. It was around that time the Jason started to play the vibraphone on gigs in New Orleans. This evolved in yet another chapter in Jason’s career as he recorded on the vibes while starting to lead his own band. In 2009, the Marsalis Family would receive the NEA Jazz Masters award and later that year, Jason would release his first new albums in nine years and his debut album on vibes Music Update.

With each passing year Jason Marsalis continues to grow and develop as both a composer and performer. With a fire in his heart and a passion for the music, his will to swing has never been more resolute.

Catherine Russell

Catherine Russell is a native New Yorker born into musical royalty. Her father, the late Luis Russell, was a legendary pianist/bandleader/arranger/composer and Louis Armstrong’s musical director. Her mother, Carline Ray, was a pioneering bassist/guitarist/vocalist and holder of advanced degrees from Julliard and Manhattan School of Music, who performed with International Sweethearts of Rhythm and Mary Lou Williams. Not surprising considering her pedigree, Catherine is a one-of-a-kind musician and vocalist. A graduate of American Academy of Dramatic Arts, Russell has toured the world, performing and recording with David Bowie, Steely Dan, Cyndi Lauper, Michael Feinstein, Levon Helm, Paul Simon, Rosanne Cash, Wynton Marsalis, Dr. John, Vince Giordano and many others, appearing on over 200 albums.

Since the 2006 release of her debut album, Cat, Russell has released six acclaimed and chart topping albums have followed. In 2012, Russell won a Grammy Award for her appearance as a featured artist on the soundtrack album for the HBO TV series “Boardwalk Empire.”

Russell is that rarest of entities – a genuine jazz and blues singer – who can sing virtually anything. Her voice is full blown femininity incarnate; a dusky, stalwart and soulful instrument that radiates interpretive power yet remains touchingly vulnerable. Her repertoire features a selection of gems from the 1920's through the present; vital interpretations, bursting with soul and humor.

Fred Hersch Trio

A 12-time Grammy nominee, Fred Hersch has garnered jazz’s most prestigious awards, including the 2016 Doris Duke Artist, 2016 and 2018 Jazz Pianist of the Year from the Jazz Journalists Association and the 2017 Prix Honorem de Jazz from L’Acádemie Charles Cros. The trio, in which Hersch has been joined by bassist John Hébert and drummer Eric McPherson for the last decade, was voted the No. 2 Jazz Group in the 2018 DownBeat Critics Poll. Recognizing the trios unique ability to traverse a wide range of styles and approaches while maintaining profound depths of emotion and the exhilarating spark of invention is what leaves audiences craving more. In 2006, Hersch became the first artist in the 75-year history of New York’s legendary Village Vanguard to play a week long engagement as a solo pianist.

For two decades, Hersch has been a passionate spokesman and fund-raiser for AIDS services and education agencies. He has produced and performed on four benefit recordings and in numerous concerts for charities.

Art Blakey Centennial - The Messenger Legacy Band

Art Blakey was often called the father of hard bop. He was responsible for producing and developing more jazz talent than any other band leader of his era. During his more than six decade career, Art Blakey’s band The Jazz Messengers was considered the quintessential forum for musicians who wished to hone their talent and leave their own mark on the jazz scene. Trumpeter Terrance Blanchard said, “No one has brought more to jazz than Art Blakey.”

The Messenger Legacy is an elite line-up of alumni members of Art Blakey’s Jazz Messengers, each now a longtime leader on his own and considered among jazz’s most accomplished players. The current configuration is Bobby Watson (alto sax), Essiet Essiet (bass), Geoff Keezer (piano), Brian Lynch (trumpet), Bill Pierce (tenor sax) and at the drums, the last drummer chosen by Art Blakey to play at his side in the Jazz Messenger 2-Drummer Big Band, Ralph Peterson.

This group of musicians wishes to preserve, protect and honor the legacy of a man who was much more than a bandleader to all of them. This group has helped launch renewed appreciation for one of the most important institutions of apprenticeship in American music history. The list of jazz musicians who came through Blakey’s Jazz Messenger band numbers well over 200 and includes icons like John Coltrane, Benny Golson, Chick Corea, Benny Green, Branford Marsalis, Bud Powell, Cedar Walton, Chuck Mangione, Horace Silver, Jon Hendricks, Keith Jarrett, Lee Morgan, Wynton Marsalis and Yusef Lateef!

Arun Luthra's Konnakol Jazz Project with Selvaganesh

Arun Luthra is one of the premier saxophonists and composers on New York’s jazz scene, and is one of the small group of American jazz musicians of Indian heritage who have continued to explore to possibilities of fusing the modern post-bop sound with elements of Indian classical music, as well drawing from a wide variety of modern and classic musical influences to create a vibrant new sound and style.  He has performed the music of his Konnakol Jazz Project worldwide and throughout the United States. As a performer he has shared the stage and recorded with many of the greatest jazz, Afro-Cuban, Brazilian and pop artists in the world including Bobby Short, Eddie Henderson, Mike Stern, Kenny Garrett, Charli Persip, The Temptations and Frankie Valli. Luthra is also a faculty member at the renowned School of Jazz in The New School’s College of Performing Arts.

Joing Luthra’s ensemble will be Selvaganesh Vinayakram. Preferring to go by his first name, Selvaganesh is the son of T.H. “Vikku” Vinayakram, the legendary Indian percussionist best-known for his ghatam work in the pioneering acoustic fusion group Shakti with guitarist John McLaughlin. From 1999 to 2013, Selvaganesh performed in Remember Shakti, a successor to the original group, together with McLaughlin, tabla master Zakir Hussain and vocalist Shankar Mahadevan.

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2019/20 Unilever Starrlight Jazz Club on sale now!

Subscriptions are available for the best seats and 15% off single ticket prices. Visit the Box Office or call 479.443.5600.

Brave, Beautiful Broadway! Sara Bareilles' Music in Waitress the Musical Has Got it All!

Seven years ago, Sara Bareilles was "just" a successful musician living in LA. With multiple chart-topping hits, such as "Love Song" and "Brave," under her belt, she felt comfortable. But something was stirring inside of her—a craving for change.

So she packed up her things and moved across the country to New York, where her agent reached out with a new opportunity, this time, in theater. There was a small production in the works based off a 2007 movie called Waitress, and the director, Diane Paulus, wanted Sara to be a part of it.

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It certainly wasn't what Sara was expecting, but she figured she'd at least hear her out. It was then that Sara fell in love with the story and decided to take a leap of faith, joining the production as the lead songwriter. It was a risky move, and Sara admits she probably wouldn't have taken the project on if she had known how much work it would require.

"It's really good for you as a person to do something you don't know how to do, and to learn, and to ask questions, and to be a student again," she says.

Sara had zero theater experience, but she obviously had music chops, and was able to translate her skills to create the entire score for the production. After the show made its 2015 premiere at the American Repertory Theater in Cambridge, Massachusetts, it moved to Broadway and quickly became a hit. 

Sara’s 11 o’clock number, “She Used to Be Mine,”  seemed so insanely specific to the musical (“she is all of this mixed up and baked in a beautiful pie”) that she felt self-conscious performing it in concert. But audiences have a way of making decisions for themselves. The song, written for a pregnant, abused waitress, reflecting back on the dreams she did not achieve, has been claimed, unexpectedly, by men, by children, by singers of all sorts.

“The range of who this song speaks to is much broader than I could have anticipated,” Bareilles said. “The chasm between who we are, and who we thought we would be, is always something we’re negotiating.”

Covers of the song caught Bareilles’ attention when a video of a gut-punching version by a 14-year-old boy from western Pennsylvania went viral in the fall. Then she started to notice it popping up on set lists. Heather Headley, a Tony winner for “Aida,” put her version on a new album alongside standards like “Over the Rainbow.” Just last week, Kathryn Gallagher, an actress in the cast of the Broadway-bound “Jagged Little Pill,” performed her own take, accompanied by a cello, at a Midtown bar, encouraged to do so, she said, by fans online.

"(Waitress) has turned into the deepest love and the most incredible turning point in my artistic life and also my life just as a person on the earth," Bareilles says. She even got the chance to step into the main role of Jenna Hunterson. Although it was certainly a challenge, she doesn't regret a thing. "Stay open-minded about doing the thing that's hard because I think that's where the real reward lives," recommends Sara.

Sara Bareilles is releasing her newest album, Amidst the Chaos on April 5. Here’s a note from Sara about the album:

“Amidst the Chaos is a collection of songs that came to life over the last couple of years and now they are ready for you. 
This summer, in Los Angeles, along side some incredible collaborators and one inimitable producer named T Bone Burnett, the record came together swiftly and softly. It has been a lifelong dream to make music with T Bone, and I was so moved by his wisdom and his interest in soulful human expression, versus perfection. I want more of that in my life and it lives loud (and soft) and proud on this record and I can't wait for you to hear it. My eternal love and gratitude for your listening.”
xo, Sara 

Waitress

"The women of Waitress are changing Broadway!" - Time Magazine

April 9-14

Tickets start at $38

Family Art Night at WAC: You and Me and the Space Between

Families are invited to play, create and learn at Walton Arts Center Then stay for the imaginative tale of You and Me and the Space Between by Terrapin Puppet THEATER.

Free arts & crafts, puzzles, games and interactive learning stations will be set up throughout the lobby with a fantastic group of community partners. These partners are committed to the ideas of culture, sustainability, climate change and reducing our global footprint!

Participating Partners include:

• Ozark Natural Science Center

• Turpentine Creek Wildlife Refuge

• Canopy NWA

• NWA Land Trust

• Botanical Gardens of the Ozarks

• Fayetteville & Washington County Recycling

• Tri Cycle Farms

• University of Arkansas EntomologY

Make a night of it and stay to see You and Me and the Space Between. the play tells the story of a young girl who FInds a way to save her imperiled island home. 

From the imagination of one of Australia’s most accomplished children’s playwrights comes a tale of wonder and invention. Storytelling, choreographed projections and live drawn animation explore the plight of refugees fleeing environmental change through the eyes of a child. Step inside a picture book with an artist and storyteller, amidst a paper set that’s cut, ripped, patched and manipulated live to create a world of play.

Best for ages 7+. Tickets are just $9.

You and Me and the Space Between local Narrator

Erika Wilhite

Erika Wilhite is a voice over actor, immersive theater artist, producer, playwright, director and dramaturg. She founded Artist’s Laboratory Theatre (ALT), a community-centered, site-specific theater in Northwest Arkansas whose mission is to embolden and empower individuals as “change agents” through theater and storytelling.

“We love using a local actor to narrate the story, because we want the children to hear the story in their local dialect or accent, so it is more personal for them,” said Sam Routledge, artistic director for Terrapin Puppet Theatre Company.

Family Art Night at WAC: You and Me and the Space Between

Thursday, March 28, starting at 6 pm

Performance of You and Me and the Space Between starts at 7 pm

Take a Bite Out of Delicious Recipes from Local Pie Bakers

Three local pie bakers answered the call to bring their best recipes to Walton Arts Center for our Baked from the Heart Pie Competition, inspired by the upcoming musical Waitress.

Three local judges, Chef Steven Brooks, cookbook author and owner of Euna Mae’s Amy Hannon and KNWA’s morning show anchor Chris Frye had the difficult task of tasting them all and picking a winner.

The pies were delicious and the bakers have been so kind to share the recipes with us! Much like Jenna from Waitress, our three bakers pour their hearts in their pies and craft scrumptious treats that are a little slice of heaven.

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Nana Lucyanna's Coconut Cream Pie

Finalist

Ingredients & Instructions

CRUST
1 cup flour
0.5 t salt
1/3 cup Crisco 

Work Crisco in to sifted flour and salt mixture. Your goal is to stir as little as possible. Add drops of ICE WATER (very important)…carefully add the water; too much water makes tough dough that will stick when you roll out. If you do put a little too much, be generous with your use of flour as you roll it out. Mix. Roll out. 

FILLING
3/4 cup sugar
¼ cup flour
¼ cup corn starch
¼ t salt
2 eggs
14 oz coconut milk
1 ½ cup half and half
1 cup coconut
1 t vanilla

Mix dry ingredients in a bowl, add two eggs, beat mixture for 6-8 minutes under medium-high speed. Add one 14 oz can of coconut milk and 1 ½ cups half and half. Cook on low to medium heat until boils, stirring continuously. Cook another 4-5 minutes to make pudding creamier. Take off burner and put in a t of vanilla and 1 cup coconut. Put into pre-baked piecrust. 
*cook crust at 360 for 15 minutes before putting in filling. 

WHIPPED CREAM TOPPING
1 ½ cups heavy whipping cream
½ cup powdered sugar
1 t vanilla

Mix ingredients until thickens and then put it on pie when the pie is COOL. Toast coconut in a pie pan and bake for few minutes until golden brown. Let the toasted coconut cool and then place on top of homemade whipped topping. 

With Love,
Carissa Freeman

Ozark Mountain Grape

Winner

Ingredients & Instructions

Crust:
254 gr (approximately 2 Cups) All Purpose Flour
5 gr (approximately 1 Tsp.) Salt 
141 gr (approximately ¾ Cup) Shortening
⅓ - ½ Cup very cold water

Combine flour and salt in a large bowl. Cut in shortening with a pastry blender or fork until coarse (pea size) crumbs develop. Stir in enough water with fork just until dough will form a ball.
Divide ball in half and shape each half into a ¾” thick disk. Wrap and chill 20-30 minutes.
During this time prepare the filling.

Filling:
24 oz seeded Campbell Early Grapes (weighed after seeds are taken out)
1 ⅛ Cup Sugar
3 ½ Tablespoons Instant Clear Jel
Very slight pinch Salt
¼ Tsp. (compacted) Orange Zest
2 Tablespoons Melted Butter

Whisk 3 dry ingredients together
Fold dry mix, butter and zest into seeded grapes. 
Set aside while rolling out the dough

Roll out one disk slightly larger than pie plate on a lightly floured surface 
Place it in the pie plate
Place filling into bottom pie shell pastry
Roll out second disk for a full cover, lattice, or decoration as desired
Brush edge of bottom pastry with water
Cover with top pastry, slightly press edge of top pastry onto bottom pastry shell to seal the edge
Trim off excess dough
Slit top to allow steam to vent

Bake at 425 degrees on middle rack for 15 minutes
Lower temp to 350 degrees and bake for an additional 25-30 minutes or until lightly browned.

-Jerry Leding

Boppy's Knee-Slappin', Mouth smackin', Eyes roll back in your head it's so good Sour Cream Raisin Pie

Finalist

Ingredients & Instructions

CRUST: This makes 2 crusts ... one for now, an extra because you'll want to make it again VERY soon!
6 Tbsp. and 3 Tbsp. unsalted softened butter, divided
1/3 cup light brown sugar, lightly packed
3 Tbsp. granulated white sugar
1 large egg 
1/2 cup AP flour
3/4 cup (plus about 2 Tbsp. more) quick cook rolled oats
1/8 tsp of baking powder
1/8 tsp of baking soda
1/4 heaping tsp coarse kosher salt

Cream butter and both sugars with an electric hand mixer in medium sized bowl for about 2 minutes, scraping down the sides as needed until light and fluffy. (you can use a stand mixer, but dang! Why make the clean up harder?)

Add egg and continue to beat until pale and fluffy.

Add oats, flour, baking powder, baking soda, and salt and beat until it's all mixed together good, about 1 minute. Turn oat mixture out onto a prepared cookie sheet (which you have either lined with parchment or a non stick silicone mat or sprayed Pam like the devil to cover the sheet) and press out until you have an even layer about 1/4 to 1/3 inch thick. (Basically, one big 'ole misshapen cookie ... looks right now are NOT important.)

Bake at 350 until it is just lightly golden on top, about 15 to 18 minutes ... you know your oven best, just keep an eye on it. Let cool on rack until completely cooled.

Once your "cookie" is completely cool crumble it up with your hands into a big bowl.

Add the other 3 Tbsp. of butter and a tablespoon of light brown sugar and mix it all together until it will stick together to form a crust. (Now's the time to split the mixture in half, one for now and one for "later". It freezes beautifully!)

Press mixture into a 9 inch pie pan, be it glass, tin, or ceramic. (Tins make the best pies, but I won't judge.) Work the mixture from the bottom up the sides until you have a full solid covering of crust in the pie pan interior. Just be sure to bring the sides up to the top edge of the pan ... you'll need to have it for the meringue to hang on to later!

FILLING: 
1 cup raisins
1/2 cup sugar
3 tablespoons cornstarch
1/8 teaspoon salt
1/8 teaspoon ground cloves
1/2 teaspoon ground cinnamon
1 cup sour cream
1/2 cup whole milk
3 large egg yolks, lightly beaten

In a small saucepan, cover the raisins with just enough water and heat to a boil. Immediately remove from heat and set aside. (you are plumping them up!)

In a large saucepan, combine the sugar, cornstarch, salt, cloves and cinnamon.

Stir in sour cream and milk until mixture is nice and smooth. Cook slow over medium heat until just thickened and bubbly.

Reduce heat to low; cook and stir for 2 minutes longer. Remove from the heat. Now's when you get to temper the eggs!

Stir a small amount of your hot filling into egg yolks whisking like crazy to combine them ... you don't want the eggs to scramble! Once it your eggs have adjusted to the heat, you can now add them to the rest of the cooked mixture in the pan, stirring constantly while doing so.

Remember, you are on low heat ... bring it up in temp just a hair until it starts a low, gentle boil. (that stage between a simmer and too many bubbles) Continue to stir it and let that cook for a couple more minutes. Remove from the heat.

Drain your raisins, but reserve about 1/2 cup of the water you cooked them in and gently stir that in to your filling mixture. Then add your raisins and mix it all together. Pour this filling into your Oat Cookie Crust and get your oven back to 350 degrees.

Meringue:

NOW, you can haul out your stand mixer. But for gosh sakes, make sure your mixing bowl and whisk are clean as all get out ... just the least little bit of dust or food residue will cause your egg whites not to set up proper.

Put the three egg whites in the bowl that were left over from the filling recipe and add another for good measure ... maybe even a fifth if you want mile high pie meringue. It's up to you, but I vote for no less than 4 egg whites.

Wisk on high in your stand mixture and sprinkle in a little cream of tartar and a couple, two, or three tablespoons of granulated white sugar, adding gradually, until you reach stiff peak consistency. (Meringue sweetness is definitely a matter of personal opinion and this recipe is already pretty darned sweet, so I'd err on the side of DO MORE SUGAR! Nah, just kidding ... I think 5 tablespoons are plenty.)

Spread over hot filling, sealing the meringue edges to the crust.

Pop this beauty into your 350 degree oven for about 15 minutes ... the meringue should be gloriously golden and browned on the peaks. Let cool for at least 1 hour before serving and refrigerate what little, if any, that is left.

-Kay Weiderhaft