At San Francisco Opera, “The Magic Flute” gets a second run after its big 2012 debut and it’s still magical─through November 20, 2015

Mexican-American baritone and second year Adler Fellow, Efraín Solís, is Papageno, the cowardly but good-natured birdcatcher. Soprano Sarah Shafer is Pamina, the Queen of the Night’s daughter. Mozart’s “The Magic Flute” is designed by Jun Kaneko, directed by Harry Silverstein and features David Gockley’s English translations and is at San Francisco Opera through November 20, 2015. Photo: ©Cory Weaver/San Francisco Opera

Wildly colorful costumes, constantly shifting digital projections, huge puppets, adorable bird-like creatures and kids in contraptions in the sky are a huge part of the fairy tale magic in San Francisco Opera’s sparkling revival of its 2012 co-production, The Magic Flute.  And, of course, there’s the music and singing─at San Francisco Opera (SFO), Mozart’s whimsical masterpiece about the power of love and the forces of good and evil is presented in full splendor with sparkling arias, glorious ensembles, and breathtaking orchestral passages. Designed by Jun Kaneko, directed by Harry Silverstein, with David Gockley’s English translations of Schikaneder’s libretto, the beloved favorite opened on October 20 for a ten performance run.

A lot happens in three years though─the novelty of those groundbreaking digital projections, based upon 3,000 of Jun Kaneko’s tempura and chalk drawings, which so mesmerized me upon my first two viewings of the opera, has begun to fade. These projections, thankfully, are now commonplace in opera and have done more to revitalize staging than anything I can think of. (Read my review for the groundbreaking 2012 production here.)  Having witnessed that magical innovation firsthand, I can now better appreciate the opera’s total package─singing, music, staging.  This review pertains to Sunday, October 25, matinee performance.

Lyric tenor Paul Appleby (front center) makes his San Francisco Opera as Tamino and plays his magic flute for a host of colorful oversized animals of the forest which never fail to delight audiences. ©Cory Weaver/San Francisco Opera

 

Animals, working drawing for “The Magic Flute,” 2011, colored pencil on hand-drawn digital template, 8.5” h x 11” w, courtesy Jun Kaneko.

Under Lawrence Foster’s baton, Mozart’s opera with its lively arias, thrilling coloratura moments and intricate passages so well-suited to vocal harmonizing was in good hands.  He makes his SFO debut with this production and will go on to conduct The Fall of the House of Usher in December.  Foster, an LA native of Romanian descent, guest-conducts frequently stateside but has mainly worked in Europe.  His tie to War Memorial Opera House is special: when he was just 19, he made his debut conducting the San Francisco Ballet Orchestra.  Since 2013, he has been music director of l’Opéra de Marseille and l’Orchestre Philharmonique de Marseille.

On Sunday, as he guided the SFO orchestra in the lush overture, I found myself growing impatient with Kaneko’s hypnotic visuals which seemed to enforce the music’s slow pace making it seem almost static. The overture itself begins quite slowly and winds through various harmonies before it builds to its rousing conclusion. We were watching a series of straight and wavy colored lines, appearing one by one, slowly build an interwoven grid and then shift through blocks of color and various patterns.  It didn’t seem as fresh as it once had.  At other times, when singers were on stage, these projections were an enthralling accompaniment and enforced the mood of the music wonderfully, if only they could be better synced to the music, on a micro-level.

Soprano Sarah Shafer is Pamina (the Queen of the Night’s daughter), splitting the role with soprano Nadine Sierra. German bass-baritone Alfred Reiter is wise Sarastro (the thought-to-be evil sorcerer) in Mozart’s “The Magic Flute” at San Francisco Opera through November 20, 2015. Photo: ©Cory Weaver/San Francisco Opera

Nimble soprano Sarah Shafer as Pamina, sang her famous Act 2 aria of lament “Oh, I feel it” (“Ach ich fuehl’s”) lyrically and hauntingly.  She sang Rosetta in this summer’s world premiere of SFO’s La Ciociara (Two Women), and is capable of great empathy in her singing and acting.  Her wonderful chemistry with Papageno/Efraín Solís made their Act 1 duet “In men, who feel love,” (“Bei Männern, welche Liebe fühlen”) pure joy, aside from its very vernacular language. Shafer was applauded enthusiastically after each of her solos and given a standing ovation at the end of the opera.  Soprano Nadine Sierra will sing the role in November.

Mexican-American baritone and second year Adler Fellow Efraín Solís is Papageno, the cowardly but good-natured birdcatcher in “The Magic Flute.” Photo: ©Cory Weaver/San Francisco Opera

Second year Adler Fellow, tenor Efraín Solís, as Papageno, has such a warm and engaging speaking voice and a natural flair for comedy that he immediately won the hearts of the audience. He imbued his wonderful singing with so much personality that he made his zany character the opera’s focal point.  And his endearing Papagena, second year Adler Fellow, soprano Maria Valdes, made the most of her brief time on stage as well.

Queen of the Night, Soprano Kathryn Bowden, subbing for Russian soprano, Albina Shagimuratova, grabbed my attention in Act 1 with her first recitative and demanding aria, “Oh, Tremble not, my dear son” (“O zittre nicht, mein lieber Sohn”). The former SFO Merola participant and winner of the 2014 Metropolitan Opera National Council Auditions (Florida District sparkled in her high range as she aimed to persuade Prince Tamino to rescue her daughter Pamina from the grips of Sarastro.  In Act 2, when she is enraged that Tamino and Pamina are collaborating with Sarastro, she let loose full force with the Queen’s more famous aria, “Hell’s vengenace boils in my heart” (“Der Hölle Rache”), singing powerfully, scornfully to Pamina while thrusting a knife into her hands and ordering her to kill Satastro.  While she didn’t quite achieve the raging high drama that completely undoes an audience, she hit all the high notes and pulled off the exhausting passagework with great precision.

Lyric tenor Paul Appleby made his San Francisco Opera as the young Prince Tamino.  His expressive voice was wonderful in his Act 1 aria “Oh heavenly and rare image” (“Dies Bildnis ist bezaubernd schön”) but his acting not as expressive.

German bass-baritone Alfred Reiter, as wise High Priest Sarastro, had a very imperial manner and put his rich deep voice to great use in the lower ranges called for by his role. On the other hand, Greg Fedderly’s Monostatos looked and acted like a character straight out of The Cat in the Hat.

The Three Ladies (from left) played by Zanda Švēde, Nian Wang and Jacqueline Piccolino, along with Tamino played by Paul Appleby in a scene from San Francisco Opera’s production of Mozart’s “The Magic Flute.” Photo: ©Cory Weaver/San Francisco Opera

While all the singers were special in their own way, I was drawn to two sets of triplets: the delightful Three Ladies─Jacqueline Piccolino (First Lady), Wang (Second Lady) and Zanda Švēde (Third Lady) who sang so harmoniously together, each with a wonderful voice and the adorable three young boys/guiding spirits (Michael Sacco, Pietro Juvaram Rafael Larpa-Wilson) who are sent to guide Papageno and Tamino on their adventure. The boys sang angelically with their delicate high voices while hovering above the stage in brightly colored triangular containers.

(From left to right above stage) Michael Sacco, Pietro Juvaram, and Rafael Larpa-Wilson) are the three guiding sprits who are sent to guide Papageno and Tamino on their adventure. Photo: ©Cory Weaver/San Francisco Opera

The English translations by David Gockley, SFO’s General Director, with additional material by Ruth and Thomas Martin, were contemporary and very well-rhymed (when called for) but went way too far into vernacular and slangy language for my tastes.  Papageno’s “ Oy vey,” in particular, got to me.

Details: There are 6 remaining performances of The Magic Flute─Wed, Nov 4, 7:30 PM; Sunday, Nov 8, 2 PM; Thurs, Nov 12, 7:30 PM; Sat, Nov 14, 7:30 PM; Tues, Nov 17, 7:30 PM; Fri, Nov 20, 7:30 PM. Tickets: $26 to $381.  For information about SFO’s 2015-16 season, click here. War Memorial Opera House is located at 301 Van Ness Avenue, San Francisco.

Suddenly, so gorgeous, so relevant—San Francisco Opera’s new “Madame Butterfly”—not to be missed, through July 9

Giacomo Puccini described his “Madame Butterfly” as “the most felt and most expressive opera” he ever conceived.” Acclaimed soprano and San Francisco Opera celeb, Patricia Racette, is Cio-Cio-San/Butterfly and tenor Brian Jagde is Pinkerton in a production featuring vivid video projections by Jun Kaneko, who delighted audiences with his “Magic Flute” in 2012. This co-production with Omaha Opera premiered in 2006 and is at SFO through July 9, 2014. Photo: ©Cory Weaver/San Francisco Opera

For many opera lovers, the soaring music of Puccini is reason enough to go to a live performance.  San Francisco’s Opera’s (SFO’s ) new “Madame Butterfly,” with its abstract video projections by artist Jun Kaneko, outstanding Cio Cio San/Butterfly by soprano Patricia Racette, and passionate directing by Nicola Luisotti, kept me glued to my seat on Thursday evening.  I’d count it among the top live opera experiences I’ve had.  This was the sixth of eight performances, with the run concluding Wednesday, July 9.  This is Florida-based Leslie Swackhamer’s co-production with SFO and Opera Omaha, which required three years of collaboration with Kaneko and Opera Omaha to pull off.   Freed of its traditional staging, this is a Butterfly unlike anything you’ve seen before—it’s fresh and timeless and while it has Japanese sensibilities, it feels more global than Japanese.  Kaneko dresses the cast in spectacularly colorful kimonos and suits a la Mondrian.  His simple set is an angled walkway that extends from the stage right-rear to left-front with a raised central platform with a sliding screen.  A vivid array of constantly shifting projections accompanies the action and punctuates the exquisite music.  The stage is so expressive, so hypnotic, with these color and pattern changes that it too becomes an important character in the performance, interacting with the singers and audience in a way that really makes you pay attention to what’s going on.

The story is still set in Nagasaki, Japan where a naïve fifteen year-old local geisha, Cio-Cio-San (Racette), falls in love with a handsome and charismatic American naval officer, Lieutenant Pinkerton (tenor Brian Jagde).  Their marriage is arranged by the broker, Goro (Julius Ahn), and the contract is clear—the “Japanese marriage” is revocable with one month’s notice.  Butterfly understands it differently though—she unconditionally accepts her suitor’s love as real and eternal and goes so far as to forsake her family and her ancestral Buddhist faith to become a devoted wife and Christian.  He leaves to go back to the States with a promise to return to her.  She trusts him implicitly.  She grows impoverished as she waits with her faithful maid Suzuki (mezzo Elizabeth DeShong).  When he does come back, three years later, it’s with his American wife.

I was once told that co-dependency is a vicious addiction to the potential of things. Patricia Racette, who has performed Cio-Cio-San three times at SFO, has an electrifying command of Butterfly’s psyche.  Her instinct for baring this deluded young’s woman’s soul while singing rapturously all evening long, is a feat that won’t be repeated.  She delivers a Butterfly who is so sumptuous in her optimism and so stubborn in her head-in-the sand denial and passivity that we want to slap her back into reality and save her from the intense pain in the pipeline.

By now, Racette should be a household name amongst Bay Area opera lovers—the Merola/Adler alum started her career with SFO 24 years ago and has sung nearly 30 roles with the company.  This past season, she took on the herculean task of singing four roles in various SFO productions and drew praise across the board.  Just last week, she concluded a stand-out performance as the cabaret singer, Julie La Verne, in Francesca Zambello’s opulent “Show Boat,” SFO’s other stand-out summer of 2014 hit.  There, her delightful renditions of Jerome Kern’s ballads “Can’t Help Lovin’ Dat Man” and “Bill,”along with her wonderful acting, were central to the production.   This Racette’s second SFO pairing with hunky Merola/Adler tenor Brian Jagde as Pinkerton and their natural ease with each other and on stage chemistry made their  Act 1duet, “Bimba, Bimba, non piangere” (“Sweetheart, sweetheart, do not weep”) intensely passionate.   Racette’s Act II, “Un bel dì” (“One beautiful day”), the opera’s most famous aria was interrupted by clapping and, once she finished, earned her a loving ovation.   The tension ran unbearably high when she sent her son out of the room so she could kill herself and that final gesture of sacrifice and insane fidelity was something to savor—a shame that it was interrupted by a *$#@ cell phone which rang 5 or 6 times before an usher had the good sense to take the offender by the arm and pull him out of the opera house.

Jun Kaneko’s boldly colorful and pattern changing video projections are so expressive that the stage too becomes an important character in the performance, interacting with the characters in a way that really makes you pay attention to what’s going on with them. Patricia Racette (Cio-Cio-San) and Elizabeth DeShong (Suzuki) in a scene from Act II. Photo: ©Cory Weaver/San Francisco Opera

Butterfly’s inspiring score is imbued with a mix of east and West and the music flowed almost seamlessly from the SFO Orchestra and chorus under Luisotti’s impassioned conducting.  In an interview in the program, Luisotti estimates that he has conducted the opera over seventy times, including two productions in Japan.  The energetic prelude that leads right into the opening scene had his silver locks flying and the volume energetically revved to the point that Jagde’s first aria, “E soffitto e pareti” (“And ceiling and walls”), was momentarily overpowered.  He pulled in it and the rest went magically.

In critical supporting roles, mezzo Elizabeth DeShong as Suzuki and baritone Brian Mulligan as the compassionate American consul offier, Sharpless, were excellent.  DeShung, in her third SFO appearance, exhibited a tremendous vocal range and deep compassion in her role as Butterfly’s faithful servant and confidant.  Her flower duet “Scuoti quella fronda di ciliegio…” was bittersweet in its foreshadowing the death about to occur. First year Adler, baritone Efraín Solís, who made his SFO debut as Prince Yamadori, a prospective proper husband for Butterfly, demonstrated he is headed for glory

The projections are game-changers—modernizing everything and encouraging very contemporary and personal associations.  Once Butterfly is abstracted from its own history and the Orientalist tableau from which we traditionally evaluate it, we’re much freer to look at its broad political issue—the plight of women today who are disowned in many cultures because they don’t play by the games established by the patriarchy.

Kaneko’s sets and costumes are influenced by the conventions of classical Japanese theater, such as the use of black-dressed Kuroko which function as running crew to assist with scene changes. In this vividly colored “Butterfly,” they also played other minor roles not covered by fully costumed singers. Photo: ©Cory Weaver/San Francisco Opera

“Gorgeous” at the Asian Art Museum:

Before the opera, I took in Gorgeous, the provocative and inventive collaboration between SFMOMA and the Asian Art Museum (AAM)—72 artworks in conversation (39 from SFMOMA and 43 from the Asian), spanning 2,000 years, that asks the viewer to decide for themselves what ‘gorgeous” means.  It primed me for the visual feast that awaiting me at SFO.  Gorgeous explores attraction, repulsion and desire and certainly engages us in thinking about the Orientalist tableau which is strong part of Butterfly.  One of the ideas behind Gorgeous is to use what we’ve learned from 20th century art about awareness of color and form and apply it to the historical objects from the Asian’s collection.  In the Asian’s Oscher Galley, quietly hanging across from Sally Mann’s provocatively posed portrait of her topless five-year-old daughter, are three silk scrolls by renowned Japanese artist Chobunsai Eishi, “Three Types of Beauties in Edo,” approximately dated 1798-1829.  These scrolls represent three types of women: a geisha, an elite courtesan and a maiden of a wealthy family.  The courtesan wears a magnificent costume that includes a brightly colored and patterned outer-kimono tied with a heavy ornate sash and has an elaborate hairdo.  In another, a demure geisha (erotically?) twists her hair pin with her delicate white hands, her forearm revealed when her sleeve is raised.  In Eishi’s time, too, there was a fascination with ranking types of beauties but the coding is fuzzy to our modern eye.  Over at SFO, Kaneko’s bold, colorful projections and costuming indicates once again that he’s digested and revisioned and moved on to his own gorgeous.  For me, gorgeous is an unexpected surprise that draws you in and keeps you rapt.  This is “Butterfly” to a T.   (The AAM is open Sunday, July 6, and admission is free.  Gorgeous closes September 14, 2014)

Details: There are two remaining performances of “Madame Butterfly”—Sunday, July 6 at 2 PM and Wednesday, July 9 at 7:30 PM.  Seats are selling fast—purchase tickets for either performance here or phone the Box Office at (415) 864-3330.  War Memorial Opera House is located at 301 Van Ness Avenue, San Francisco.   Every performance features supertitles (English translations) projected above the stage, visible from every seat.

For more information on San Francisco Opera and their upcoming performances, visit http://sfopera.com/Home.aspx

 Driving to San Francisco and Parking: Be sure to allow ample time when driving into San Francisco and crossing the Golden Gate Bridge—there are frequent delay on Highway 101 South due to ongoing road expansion work and wine country tourism.  Arrive early at your parking garage of choice because those also fill up, especially when the San Francisco Symphony is performing on the same day.  Recommended Garages:  Two garages are very close to War Memorial Opera House— the Performing Arts Garage (1/2 block) (Grove Street between Franklin and Gough Streets) and Civic Center Garage (roughly 2 blocks) (McAllister Street between Polk and Larkin Streets) (Both have a flat $15 pay cash as you enter policy on performance nights.)

A chance to hear the future of opera—delightful, affordable, favorite excerpts from well-known operas—the Merola Grand Finale concert is this Saturday, August 17, 2013

The 2013 Merola Opera Program Fellows on the steps of War Memorial Opera House. The fellows conclude their intensive summer training program with the Grand Finale Concert on August 17, 2013. Photo: Kristen Loken

Every summer, the Merola Opera Program concludes with its delightful Grand Finale concert, featuring the current year’s Merola fellows singing excerpts from major operas on the stage of the War Memorial Opera House, the home of the San Francisco Opera (SFO).   This summer’s concert is Saturday, August 17, at 7:30 PM.   All 23 of the 2013 Merolini will sing and the entire production will be staged by George Cederquist, the 2013 Merola Apprentice Stage Director.  John DeMain, Director of the Madison Symphony and Artistic Director of the Madison Opera, will conduct the San Francisco Opera Orchestra and Merolini in a program featuring beloved classics by Barber, Bernstein, Britten, Gounod, Handel, Korngold, Massenet, Monteverdi, Offenbach, Purcell, Rossini and Wagner sung in Italian, French, German, and English.  If you, or someone accompanying you, are somewhat new to opera, the 17 selections are a perfect introduction to opera—they are all classics, the excerpts are short and varied and feature gorgeous orchestral music and were chosen by the singers to showcase their unique vocal talents.   And, it goes without saying; the concert is both a launchpad and an opportunity to meet the next generation of opera luminaries, in the formative phases of their careers.  These young Merola singers will go to sing major roles in the world’s leading opera houses.

“The Merola Grand Finale is, for all of us Merolini, one of the highlights of the summer.  It’s our chance to show how much we’ve grown and how much potential we have,” said 2013 Merola Apprentice Stage Director George Cederquist. “My goal is to create a staged concert that is celebratory, beautiful and fluid. This is not the time for highly conceptual work. My aim is to help my singer-colleagues sound great, act great and look great, and I intend to do just that.”  Cederquist, was one of only 10 Americans to receive the 2011-2012 German Chancellor Fellowship from the Alexander von Humboldt Foundation and the first Stage Director ever to win this prestigious award. Next season, he will be Resident Artist Stage Director at Pittsburgh Opera under the mentorship of General Director Christopher Hahn.

The songs to be performed (but not in the order of performance) and the singers are as follows:

Lohengrin (Wagner)
“Mein lieber Schwann”
Lohengrin: Issachah Savage (tenor)

Lohengrin (Wagner)
“Ortrud! Wo bist du?”
Elsa: Aviva Fortunata (soprano)
Ortrud: Daryl Freedman (mezzo-soprano)

Billy Budd (Britten)
“Claggart, John Claggart, beware!”
Captain Vere: Robert Watson (tenor)
Billy Budd: Alex DeSocio (baritone)
John Claggart: Thomas Richards (bass-baritone)

Manon (Massenet)
“Restons ici … Voyons, Manon … J’ai marqueé l’heure de depart”
Manon: Maria Valdes (soprano)
Des Grieux: Pene Pati (tenor)

Vanessa (Barber)
“Is it still snowing? … Must the winter come so soon? … Do not utter a word”
Erika: Rihab Chaieb (mezzo-soprano)
Vanessa: Linda Barnett (soprano)

Il ritorno d’Ulisse (Monteverdi)
“Dormo ancora?”
Ulisse: Joseph Lattanzi (baritone)

La Cenerentola (Rossini)
“Ma dunque io sono un ex? … Un segreto d’importanza”
Dandini: Efraín Solis (baritone)
Magnifico: John Arnold (bass-baritone)

Ariodante (Handel)
“Vanne pronto, Odoardo … Voli colla sua tromba”
Il Ré: Rhys Lloyd Talbot (bass-baritone)

Luisa Miller (Verdi)
“Il padre tuo … Tu punisicmi, o signore … A brani, a brani, o perfido”
Luisa: Jacqueline Piccolino (soprano)
Wurm: David Weigel (bass-baritone)

Sapho (Gounod)
“Où suis-je? … O ma lyre immortelle”
Sapho: Zanda Švēde (mezzo-soprano)

Die Freischütz (Weber)
“Nein, länger trag’ ich nicht die Qualen … Durch die Wälder, durch die Auen”
Max: Casey Finnigan (tenor)

Ascanio in Alba (Mozart)
“Dal tuo gentil sembiante”
Fauno: Alisa Jordheim (soprano)

La belle Hélène (Offenbach)
“C’est le ciel qui m’envoie”
Hélène: Kate Allen (mezzo-soprano)
Paris: Matthew Newlin (tenor)

Die tote Stadt (Korngold)
“Mein Sehnen, mein Wähnen”
Fritz: Chris Carr (baritone)

Dido and Aeneas (Purcell)
“Thy hand Belinda … When I am laid in earth”
Dido: Katie Hannigan (mezzo-soprano)

Candide (Bernstein)
“Make our garden grow”
Candide: Pene Pati (tenor)
Cunegonde: Maria Valdes (soprano)
Old Lady: Kate Allen (mezzo-soprano)
Governor: Casey Finnigan (tenor)
Maximillian: Rhys Talbot (bass-baritone)
Pangloss: David Weigel (bass-baritone)
Chorus: tutti Merolini

More about Merola:  Guided by Sheri Greenawald, San Francisco Opera Center Director and internationally acclaimed soprano, the Merola Opera Program is an independent nonprofit organization which operates in collaboration with the San Francisco Opera.  Founded in 1957 and named for San Francisco Opera’s urbane and forward-thinking founder, Gaetano Merola, the Program is recognized as one of the most prestigious operatic training programs in the world. The Merola Opera Program typically receives more than 800 applications for approximately 30 positions. Throughout the summer, the Merola artists participate in master classes and private coachings with opera luminaries and give several public performances.  Participants—who include singers, apprentice coaches and an apprentice stage director—also receive training in operatic repertory, foreign languages, diction, acting and stage movement.  The Merola Opera Program fully underwrites each participant’s travel, housing, coaching and educational expenses, as well as all production costs associated with the summer schedule and a weekly stipend for each participant. Program alumni include Joyce di Donato, Sylvia McNair, Patricia Racette, Ruth Ann Swenson, Carol Vaness, Deborah Voigt, Anna Netrebko,Susan Graham, Dolora Zajick, Brian Asawa, Jess Thomas, Thomas Hampson, Rolando Villazón, and Patrick Summers.

Details:  The Merola Grand Finale is Saturday, August 17, at 7:30 p.m. at War Memorial Opera House, 301 Van Ness Avenue, San Francisco (across from City Hall).  One of the last Beaux-Arts structures built in the United States, the Opera House seats 3,146, with 200 standing room places. Tickets:  $25 to $45. Purchase online here (all Merola events are listed under “Other Productions”) or in person at the San Francisco Opera Box Office in the lobby of the War Memorial Opera House at 301 Van Ness Avenue. The Box Office is open from 10 a.m. to 5 p.m. on Monday and from 10 a.m. to 6 p.m. Tuesday through Friday. Tickets may also be ordered by calling 415-864-3330.   There is a special student ticket rate of $15, but these tickets can only be purchased in person at the Box Office with proper identification. There will also be a reception beginning at 10 p.m. downstairs in the Opera House Café. Each ticket for the reception is an additional $50.

Driving to San Francisco and Parking: Be sure to allow ample time when driving into San Francisco on the weekend and crossing the Golden Gate Bridge—there is frequently a 20 to 30 minute back-up on Highway 101 South from Petaluma through Novato due to wine country traffic and road work related to highway expansion. Arrive early at your parking garage of choice because those also fill up on weekends. Recommended Garages:  Two garages are very close to War Memorial Opera House— the Performing Arts Garage (1/2 block)(Grove Street between Franklin and Gough Streets) and Civic Center Garage (roughly 2 blocks) (McAllister Street between Polk and Larken Streets) (both have flat $15 pay cash as you enter policy on performance nights)