Mill Town Players Kick Off "First Baptist Ivy Gap" Tomorrow

Brooks Center Announces 2019-2020 Season

CLEMSON — The 2019-20 season at the Brooks Center for the Performing Arts offers variety, with Grammy winners, world music, dance companies, chamber ensembles and much more. From the homespun sounds of The Earls of Leicester to the mesmerizing staging of “An American in Paris” in the Boni Belle Brooks Series; from the brassy virtuosity of trumpeter Brandon Ridenour and Septura to the melodic tones of the Miro Quartet and the Polonsky/Shifrin/Wiley Trio in the Utsey Series; and with the offering of many student ensemble performances, there is something for everyone.

Campus and community members are invited to attend with colleagues, family and friends. Tickets will be available beginning Wednesday, Aug. 14, online, by phone at 864-656-7787 or at the Box Office.

The Earls of Leicester – Tuesday, Sept. 10
Sponsored by Bill Dowler.

When the Earls of Leicester formed in 2013, their mission was ambitious but exact: to preserve and promote the legacy of bluegrass legends Lester Flatt and Earl Scruggs. The Nashville-based six-piece group has won a Grammy and earned six International Bluegrass Music Association Awards. Twisted Pine will serve as the opening performer.

Snarky Puppy – Monday, Sept. 16 

Displaying a rare and delicate mixture of sophisticated composition, harmony and improvisation, fusion-influenced, genre-bending Snarky Puppy makes exploratory jazz, funk and rock. Join this award-winning jam band as it brings its special blend of feel-good tunes to the Brooks Center.

The Four Italian Tenors – Thursday, Sept. 26

On their first U.S. tour, the Four Italian Tenors perform the greatest tenor arias and songs of all time in unique arrangements created for American audiences. Hear this new generation of world-class tenors present classic works with panache, verve, and vivacity, all in their own inimitable style.

Nella – Thursday, Oct. 10 

Nella, a graduate of the Berklee College of Music, is a new voice hailing from the Venezuelan island of Margarita. Her music is a meeting place for her country’s folklore roots, the influence of her contemporaries and the music of the Andalusian region of Spain.

Kingdom Choir – Monday, Oct. 21

London’s Kingdom Choir is best known for its breathtaking performance at the royal wedding of Prince Harry and Meghan Markle. Founded in 1994 by award-winning conductor Karen Gibson, the choir draws from various traditions and is dedicated to creating a sound that reflects the community they share.

Ballet Hispanico – Monday, Oct. 28

From its grassroots origins as a dance school and community-based performing arts troupe, Ballet Hispanico has grown into a world class institution. Now, under the artistic direction of Eduardo Vilaro, the Company performs a diverse repertory that fuses Latin dance with classical and contemporary techniques to create a new style of concert dance in which theatricality and passion propel every move.

Midtown Men: Holiday Hits – Friday, Dec. 6
The Delores St. Clair Wright Christmas Show

Celebrate the most wonderful time of the year with The Midtown Men as they return to the Brooks Center to debut their “Holiday Hits” show, blending iconic rock-and-roll hits of the 1960s with the all-time greatest holiday classics. The group will perform “Let It Snow,” “Winter Wonderland,” Christmas Waltz,” and “Sherry” with their dynamic choreography, electrifying arrangements and signature four-part harmony. (Not a performance of, and not affiliated with the show “Jersey Boys.”)

Matthew Whitaker – Thursday, Jan. 23

Born in 2001, jazz pianist and organist Matthew Whitaker began teaching himself to play the Hammond B3 organ when he was 3 years old. By age 7, he became the youngest artist in the company’s history to be endorsed by Hammond. He was named a Yamaha Artist at 15, and has toured the United States and abroad, performing at Lincoln Center, The Kennedy Center, the Apollo Theater, and at venues in France, Italy, Germany, Indonesia, the U.K., Japan and Morocco. Don’t miss this rising star who has been hailed as the next Stevie Wonder.

TAO – Tuesday, Feb. 4

TAO’s modern, high-energy performances showcasing the ancient art of Japanese drumming have transfixed audiences worldwide. Combining highly physical, large-scale drumming with contemporary costumes, precise choreography, and innovative visuals, the performers of TAO create an energetic and unforgettable production.

MOMIX – Tuesday, March 3
Sponsored by Bill and Donna Eskridge

Small vignettes make up this two-act performance from acclaimed dance company MOMIX, which brings “Viva MOMIX,” a mix-and-match variety of selections from six classic productions, to the Brooks Center stage.

“An American in Paris” – Monday, March 30

“An American in Paris” is the Tony Award-winning musical about an American soldier, a mysterious French girl and an indomitable European city, each yearning for a new beginning. Inspired by the Academy Award-winning 1951 film, “An American in Paris” features music and lyrics by George and Ira Gershwin and book by Craig Lucas.

Special Events:

Greater Clemson Area Music Festival Presents The Box Tops – Tuesday, April 28

The legendary, Grammy Award-winning American rock band the Box Tops was formed in Memphis in 1967. The group is best known for such hits as “The Letter,” “Cry Like a Baby” and “Soul Deep.”

2020-21 Season Reveal Party – Friday, May 1

Be the very first to see what’s coming up in the 2020-21 season! Join us at our next season reveal party for food, fun, and an exclusive peek at next season’s performances.

Lillian and Robert Utsey Chamber Music Series • 7:30 p.m.

Brandon Ridenour, trumpet – Thursday, Sept. 19

A virtuoso trumpeter and composer, Brandon Ridenour’s brilliance and self-assurance on the concert stage led to his victory at the 2018 Concert Artists Guild Competition and a thriving career worldwide. Recognized as “…the trumpet of the future (Chicago Sun Times) and for “demonstrating the trumpet’s huge potential for lyricism” (Cleveland Plain Dealer), Ridenour has combined his wide-ranging activities as a soloist and chamber musician with his passion for composing and arranging. His latest project, “Come Together,” features his arrangements of Beatles’ songs in celebration of the 50th anniversary of this Lennon and McCartney classic.

Polonsky/Shifrin/Wiley Trio – Monday, Nov. 4

After receiving the Richard J. Bogomolny National Service Award at the 2018 Chamber Music America Conference for historic service to the chamber music field, clarinet virtuoso David Shifrin formed a new trio with distinguished cellist Peter Wiley and rising piano star Anna Polonsky. In addition to the well-known trios for piano, clarinet, and cello by Beethoven and Brahms, the concert will include Debussy’s Première Rhapsodie for Clarinet and Piano, Debussy’s Sonata for Cello and Piano, and piano selections from Brahms’ Opp. 118 and 119.

Septura – Thursday, Feb. 6

Septura brings together London’s leading players to redefine brass chamber music through the uniquely expressive sound of the brass septet. Currently Ensemble in Residence at the Royal Academy of Music in London, Septura’s members are the leading players of the new generation of British brass musicians, holding principal positions in the London Symphony, Philharmonia, Royal Philharmonic, BBC Symphony and Basel Symphony. “The standard is absolutely higher than brass playing has ever been before.” – Alison Balsom

Miró String Quartet – Thursday, March 26

Founded in 1995, the Miró String Quartet has developed an ambitious project for 2019-20, a series of programs that replicate concerts from the 250-year history of string quartets performing in the concert hall. The Quartet’s Archive Project commemorates two major musical celebrations in 2020: the 250th anniversary of Beethoven’s birth and the 25th anniversary of the founding of the Miró Quartet. The program to be performed at the Brooks Center will include Schubert’s beloved “Death and the Maiden” String Quartet, as well as works by Mozart, Glière, Franck and Servais.

Family Series (7 p.m.)

Okee Dokee Brothers – Thursday, Oct. 3

The Grammy Award-winning Okee Dokee Brothers put their passion for the outdoors at the heart of their Americana Folk music with the goal of inspiring children and their parents to get outside and get creative. The four-time Parents’ Choice Award winners have garnered praise from the likes of NPR’s “All Things Considered” and USA Today, and have been called “two of family music’s best songwriters.”

“Charlotte’s Web” – Friday, Feb. 28

Based on E.B. White’s loving story of the friendship between a pig named Wilbur and a little gray spider named Charlotte, this treasured tale features madcap and endearing farm animals, explores bravery, selfless love, and the true meaning of friendship.

Sonia De Los Santos – Monday, March 23

Born and raised in Monterrey, Mexico, this performer was born with a smile on her face (that’s what her mom always says) and she can easily find the things in the world that bring her joy: migrating butterflies, waking up early, wildflowers, maracas, being grateful to her parents, playing with her band, and of course, singing about birds! De Los Santos and her band bring messages of joyful community music-making and cultural bridge building that will inspire children and grown-ups.

Department of Performing Arts Student Ensembles • 7:30 p.m.

Music in the Air XVII Carillon Concert – Sunday, Sept. 22 (5 p.m.) – Tillman Hall

Bring a picnic, enjoy fresh air, and unwind as University Carillonneur Linda Dzuris performs on our 48-bell instrument. You are invited to tour the playing cabin following the performance.

CU Singers and Cantorei – Thursday, Oct. 24 – Fort Hill Presbyterian Church

Join us at Fort Hill Presbyterian for an evening of exciting choral music. CU Singers will perform a variety of a cappella and accompanied works. The Clemson Cantorei will present a chamber music experience with contemporary choral works accompanied by piano, cello and percussion.

CU Percussion Ensemble, Steel Band and Drumline – Thursday, Nov. 7

This one-of-a-kind percussion extravaganza features the top marching, concert, and world percussion ensembles at Clemson sharing the stage in a celebration of percussion.

CU Symphony Orchestra – Tuesday, Nov. 12

From the powerful opening chords to the triumph of the finale, Beethoven’s iconic Fifth Symphony is truly a game-changer. Enjoy the talent of the winner of our annual concerto/aria competition.

Tigeroar/TakeNote – Fall Performance – Friday, Nov. 15

The women of TakeNote and the men of Tigeroar team up for our combined show, featuring unique arrangements for both groups together, and on their own.

CU Jazz Ensemble – Tuesday, Nov. 19

Join the Clemson University Jazz Ensemble, The Jungaleers, as the musicians share the stage and collaborate with the talented guest artist, trumpeter Dean Pratt.

CU Men’s and Women’s Choirs – Thursday, Nov. 21

The Men’s and Women’s choirs will perform an evening of inspiring music ranging from classics to contemporary arrangements.

CU Symphonic Band – Monday, Nov. 25

Music inspired by the moon highlights this concert with conductor Mark Spede and guest conductor Timothy Hurlburt.

Clemson Choirs: Sounds of the Season – Sunday, Dec. 8 (3 p.m.)

This year, we are excited to present a new Clemson tradition! Join us for an afternoon of holiday favorites performed by each choral ensemble and a festival orchestra. With a sing-along, cookies, and a visit by a special guest, it will be an event the whole family can enjoy!

CU Symphonic Band – Monday, March 9

Traditional band favorites are featured in this concert, along with fascinating new music for the wind ensemble.

CU Symphony Orchestra – Thursday, April 2

Enjoy the sound of Clemson instructor David W. Jones in a concerto for alto saxophone and orchestra, followed by selections from Tchaikovsky’s “Swan Lake” ballet and other favorites.

Tigeroar/TakeNote – Spring Performance – Saturday, April 4

The women of TakeNote and the men of Tigeroar perform recent favorite hits and classics from a variety of genres and styles for an exciting night of pop music!

Department of Performing Arts “POPS” Scholarship Concert – Sunday, April 5 (5 p.m.)

Bring a picnic to Patrick Square and enjoy a variety of ensembles perform at the 21st annual “POPS” concert, benefitting the department’s scholarship fund.

CU Men’s and Women’s Choirs – Tuesday, April 7

The Men’s and Women’s choirs will perform an evening of inspiring choral music, featuring an additional collaboration with special guests from the Choral Arts Exchange program.

CU Symphonic Band and CU Concert Band – Tuesday, April 14

The Symphonic Band and Concert Band join forces for a concert of serious and fun music written for percussion and winds.

CU Singers and Cantorei – Thursday, April 16

The CU Singers perform a masterwork with a professional chamber orchestra while Cantorei is thrilled to perform a new choral work commissioned by American composer Eliane Hagenberg.

CU Jazz Ensemble – Tuesday, April 21

Make plans to join the Clemson University Jazz Ensemble, The Jungaleers, when it is joined by the incomparable Wayne Bergeron. A guest artist with high-profile orchestras, Bergeron’s trumpet solos can be heard on more than 400 television and movie soundtracks.

CU Percussion Ensemble and CU Steel Band – Friday, April 24

The percussion ensemble features contemporary drumming and percussion from around the world.

Clemson Players

“The Tempest,” by William Shakespeare

Monday, Sept. 30 – Saturday, Oct. 5 at 7:30 p.m. and Sunday, Oct. 6 at 3 p.m.

Among Shakespeare’s final plays, “The Tempest” is a story of family, betrayal, love and what holds us captive. Equal parts heartfelt and humorous, this production set in the late 1930s will explore the magic, both literal and figurative, of this classic play.

“John Proctor Is the Villain,” by Kimberly Belflower

Monday, Nov. 18 –  Saturday, Nov. 23 at 7:30 p.m. and Sunday, Nov. 24 at 3 p.m.

What do 17th-century Salem, Massachusetts, and a one-stoplight town in present-day Georgia have in common? In “John Proctor Is the Villain” by Kimberly Belflower, high school students confront the uncomfortable connections between literature and life.

“She Kills Monsters,” by Qui Nguyen

Monday, April 13 – Saturday, April 18 at 7:30 p.m. and

Sunday, April 19 at 3 p.m.

Agnes Evans is a young woman grieving for her deceased sister, Tilly. When Agnes discovers her sister was a popular Dungeons and Dragons player, she begins a journey of action-packed adventure in the imaginary world that was Tilly’s safe haven.

Mill Town Players "Pump Boys and Dinettes" Irresistible

By Paul Hyde/Anderson Observer

Just in time for spring, the sunny musical "Pump Boys and Dinettes" has arrived at Mill Town Players in Photo Courtesy/Escobar Photographya terrific production guaranteed to please.

Director Reed Halvorson has cooked up a mighty tasty staging of this country-fried delight, which opened March 29 and continues through April 14.

The feel-good show centers on a group of down-home gas station guys and flirty waitresses who share their stories of heartbreak and hilarity through toe-tapping music and engaging vocals.

The backdrop for the revels is a combination gas station and diner located somewhere between Frog Level and Smyrna, North Carolina.

Because the two businesses never seem to have a customer, the young men and women have plenty of time to gab and croon. They sing tuneful and rambunctious songs about simple pleasures such as fishing, grandmas, springtime in Carolina, and "making love and watching TV."

There's not much of a plot to the show, but who cares? The men deliver homespun humor while the dinettes serve up plates of pie, cups of coffee and gallons of sass.

Our hosts share a motto: "Work won't kill, but worry will." What the pump boys and dinettes offer, then, is 90 minutes of carefree joy. A more ingratiating show -- funny, sweet-natured and just this side of cornball -- would be hard to find.

The fetching score, featuring more than a dozen tunes mostly by Jim Wann, ranges from country to rockabilly to blues and southern gospel.

The music is performed live -- always nice to see. The pump boys play guitars, bass, piano and drums. The women become a rhythm section on at least one song as well, beating on pots, pans and other kitchen utensils.

Will Ragland's set is a slice of Americana with the welcoming warmth of a Norman Rockwell painting.

Halvorson, the director, brings a breezy tempo and earnest appeal to the production. He elicits natural, nimble performances from his talented cast of eight.

Austin Finley plays the easygoing and amiable Jim, the master of ceremonies. Finley takes the lead vocals on several songs, perhaps most poignantly on "Mamaw," a sentimental tribute to a beloved grandmother: "Didn't you find my sheriff's badge when I was 7? Didn't you let me drive your car when I was 11 and a half? Didn't we laugh?"

Austin Smith is Jackson, a more extroverted gas station attendant, sporting shades. Smith lets loose in high-octane fashion on the rockabilly "Mona," about the object of Jackson's affections, a "dime-store dream."

Mark Spung-Wiles has some great comic moments as L.M., a country nerd with the heart of a class clown. He sings the show's funniest songs with gusto, including the dynamite blues number, "Serve Yourself." Another song, "Farmer Tan," reveals the secrets of L.M.'s appeal: "two-toned biceps and an ivory chest."

Kelly Davis, beaming an irresistible 100-watt smile, brings a country perkiness to waitress Prudie Cupp. She sings a smoothly articulated "The Best Man," about the one that got away.

Hannah Morton, as Rhetta Cupp, soars on the bluesy "Be Good or Be Gone," making it a showstopper.

Together, the waitresses Davis and Morton bring down the house on the assertive "Tips" (about a waitress' best friend) and then tug mightily on the heartstrings with the follow-up: "Sister," about the barriers that can exist even between close siblings.

David Sims, as Eddie the bassist, provides an amusing contrast to the good ol' boys. He towers in the background, cool and mostly inscrutable behind shades.

David L. Watson dazzles on the keyboards and Kip Brock keeps up the momentum on drums.

Joshua C. Morton's musical direction is vigorous, polished and professional.

For tickets to this buoyant "Pump Boys and Dinettes," visit www.milltownplayers.org or call 864-947-8000.

Paul Hyde, a longtime Upstate journalist, writes often about the arts for the Anderson Observer. Follow him on Facebook and Twitter: @PaulHyde7. 

Market Theatre's "Our Town" Glows with Charm, Sincerity

By Paul Hyde/Anderson Observer

“Our Town” works its gentle magic in a poignant production of this classic play at the Market Theatre Company.

Director Robert Fuson’s streamlined staging of Thornton Wilder’s drama glows with charm and sincerity.

Fuson’s production unfolds naturally, with no undue theatrical flourishes or razzle-dazzle. For scenery, there are only two tables and 10 chairs on stage. It’s a simple story simply told.

Wilder’s Pulitzer Prize-winning “Our Town” finds the beauty and poetry in ordinary lives. At the heart of the story are two teenagers, Emily and George, tentatively courting and starting a life together.

The play is set in a small town in the early 20^thcentury, perhaps not so different from any small town in the early 21^stcentury.

The Stage Manager (Jessie Davis), foreground, tells the story of Emily Webb (Kellsey Cornnell) and George Gibbs (Noah Austin) during a rehearsal for “Our Town” at the Market Theatre Company. Photo by Noah Taylor. Grover’s Corners is the sort of community where most local folks believe that an evening stroll can be as satisfying – if perhaps not as thrilling -- as a trip to Paris.

There’s not much high drama in the small town, but there are compensations: the sunrise, birdsong in the summer, plants, trees and the change of seasons. For most of the town’s residents, that seems to be enough, and even more than enough.

Not everyone, of course, is “meant for small-town life,” one character says, and it’s probably true that the low-key “Our Town” is not meant for all theater-goers. Its humor is genial, its voice almost never shouts.

But it’s a profound play that wears its profundity lightly.

Fusion’s staging aims to be natural and earnest. It succeeds at that but, on opening night, the actors spoke so softly at the beginning of the play that I and some others missed some of the dialogue. 

“Our Town” is an ensemble show, and this production features 13 capable Upstate actors.

Among the standouts is Jessie Davis as the Stage Manager, the play’s narrator who occasionally becomes a character in the drama. The role is often played by a folksy grandfatherly actor, but Davis, a young actress, was an inspired choice for the part. She offers an emotionally engaged portrayal, sensitive and heartfelt.

Kelsey Cornnell and Noah Austin are appealing and believable as Emily and George, the young romantic couple. Cornnell’s Emily is sweet and gracefully articulated. Austin captures George’s youthful awkwardness and rambunctious energy.

Four actors offer solid contributions as the parents of Emily and George: Rob Gentry (Dr. Gibbs), Sarah Anderson (Mrs. Gibbs), Ken Thomason (Mr. Webb) and Casey Certain (Mrs. Webb).

Bree Green designed the excellent costumes.

Only two more performances, Saturday and Sunday, remain of this fine production of “Our Town.” For tickets, call 864-729-2999 or visit the website www.themarketanderson.org.

Paul Hyde, a veteran Upstate journalist, writes about the arts for the Anderson Observer. Follow him on Facebook and Twitter: @PaulHyde7.

"Hamilton" a Dynamite Theatrical Experience at the Peace Center

By Paul Hyde/Anderson Observer

You can believe all the great things you’ve heard about “Hamilton.” The national tour of the Tony Award-winning musical at the Peace Center is dynamite, a brilliant theatrical experience that lives up to its hype.

The national tour of "Hamilton" continues through Sunday at the Peace Center.It’s a very American story of an impoverished immigrant from the Caribbean who makes good in the land of opportunity.

It’s also a love story, and a love letter to our founding fathers and mothers.

And it’s the arts event of the year in the Upstate.

What you may not know is that Lin-Manuel Miranda’s remarkable, game-changing musical nicely balances revolution with tradition. The show tells the story of Alexander Hamilton – the fellow on the $10 bill and the creator of America’s economic system – through a virtuosic outburst of rap music.

Yet, the show also features traditional -- and highly appealing -- song and dance numbers in the styles of R&B, jazz, Britpop and good ol’ musical theater. Miranda, a dynamic wordsmith and theater pro, drops tasty references to Shakespeare, Gilbert and Sullivan and “South Pacific,” among many others.

At almost three hours with intermission, the show, which also won the Pulitzer Prize, is a lot more substantial – but also funnier – than the usual blockbuster musical. Washington, Hamilton and Jefferson conduct war, compose the Constitution and outline the economic structure of a new nation.

The show’s dialogue, conveyed in often briskly-paced rap, approaches Shakespearean lengths. The large principal cast also puts one in mind of the breadth of Shakespeare’s plays or a Wagnerian opera.

“Hamilton” is crammed with words and, yes, it’s fair to say the show makes demands on a modern audience’s attention span. 

At the center of the story is Hamilton himself, the fast-talking, fast-writing man with a mission and overwhelming ambition. His friend and murderous rival, Aaron Burr, serves as an embittered narrator with a front seat to Hamilton’s meteoric rise to become the first U.S. secretary of the Treasury.

“Hamilton” certainly qualifies as the musical of the modern resistance, with its emphasis on the central role played by immigrants in our great Nation of Immigrants. Today, when refugees and immigrants are often shunned in our nation, “Hamilton” is a keen reminder of our roots.

The show’s most famous line -- “Immigrants, we get the job done” – inspired enthusiastic applause on the night I attended, as it does most anywhere the musical is staged.

With black and Hispanic actors in period costumes portraying white historical figures, the cast looks like America today rather than the American of 1776. The show’s diversity and hip-hop music remind an audience that the ongoing American revolution – and its vision of a more inclusive nation – belongs to the young.

Our hero Alexander Hamilton speaks in contemporary rap, but he achieves fame and influence the old-fashioned way -- by earning it: “by working a lot harder, by being a lot smarter, by being a self-starter,” as the opening number makes clear.

I think history buffs will love the show, based on Ron Chernow’s sprawling 2004 biography of Hamilton. The musical gets the broad outlines of our nation’s story correct – particularly the shifting loyalties in an America founded on the sort of brutal factionalism that continues today. It’s a bit jarring, to say the least, to see Jefferson and Madison played as comic characters – but they’re certainly funny.

Miranda is not out to diminish the founding fathers. Quite the opposite: The musical is patriotic, awestruck by the achievements of the founders.

And it’s gratifying to see the revolutionary war hero John Laurens, who was born and died in South Carolina, occupying a prominent role in the story of “Hamilton.” Laurens was a good friend of Hamilton, maybe his lover. The city and county of Laurens in the Upstate is named after John Laurens’ father, Henry.

The electrifying, high-octane direction and choreography are by, respectively, Thomas Kail and Andy Blankenbuehler.

The cast is superb. Joseph Morales is sympathetic in the tour de force role of Hamilton, a mix of pluck and insecurity. Nik Walker, a commanding actor with tremendous charisma, plays Burr.

Jon Patrick Walker is a delight as King George III, who comments on the revolution with prissy petulance.

Shoba Narayan is beautiful in voice and presence as Eliza Hamilton, Alexander Hamilton’s wife. Ta’Rea Campbell, as Eliza’s sister Angelica Schuyler, soars in her numbers.

Marcus Choi is the formidable George Washington. Several actors do double duty, embracing their roles with gusto: Kyle Scatliffe (Marquis de Lafayette/Thomas Jefferson), Fergie L. Philippe (Hercules Mulligan/James Madison), Elijah Malcomb (John Laurens/Philip Hamilton) and Nyla Sostre (Peggy Schuyler/Maria Reynolds).

Wonza Johnson, a graduate of the S.C. Governor’s School for the Arts and Humanities, offers a solid contribution in three roles (Philip Schuyler, James Reynolds, the Doctor) – and substitutes for Hamilton in some shows.

The entire cast sounds magnificent in big ensemble numbers like “Yorktown.”

David Korins’ economical, rough-hewn set of planks, stairs and ropes suggests an 18^th century port which, to the refugee and immigrant, must have been the symbolic equivalent of a Statue of Liberty in colonial America.

This dazzling touring production of “Hamilton” continues through Sunday. Some tickets may remain. Call the Peace Center at 864-467-3000 or see the website peacecenter.org.

Paul Hyde, a veteran Upstate journalist, writes about the arts for the Anderson Observer. Write to him at paulhydeus@yahoo.com. Follow him on Facebook and Twitter: @PaulHyde7.