For anyone who has ever been stuck with horrible seats or waited in line at a ticket office only to be turned away, it can be agreed upon – good live music can be hard to find.

Fortunately, a solution to this problem can be found in downtown Davis. Friday at 10 p.m. begins the spring and summer live music season at Sophia’s Thai Kitchen, located at 129 E St. On the bill for opening night is San Francisco-based western swing group Lady A and her Heel Draggers as well as the townies Mad Cow String Band.

When Sophia’s first opened in 2001, co-owner Kevin Wan said hosting live music was never far from his plans for the business. However, due to logistics and other matters of running a new business, the concert series did not get its start until about two years ago. Last year, Wan and Michael Leahy, a Davis resident and DJ at KDVS 90.3 FM, presented Sophia’s “Cool As Folk” live music series (named after Leahy’s radio show). The series invited acts like Minnesota-based folk band Cataldo as well as the Dodos, who toured with Frenchkiss labelmates Akron/Family and performed at the South by Southwest Music Festival.

“There are so few places [in Davis] for people to go see live music,” said Wan, who is also a UC Davis alumnus. “It’s a special thing that the season is only six months – so the quality is really high. Everything is quite deliberate and well thought out.”

From April to October, Sophia’s patio becomes an outdoor stage, and this season’s calendar promises a scope of artists from the surf pop sound of San Francisco-based band the Boticellis and nostalgic Americana from the New York-based Salt and Samovar, to the experimental Latin group Diego’s Umbrella (who performed at the Red Gorilla Music Festival, a sub-festival of SXSW).

“One thing that helps make it work is that we’re really excited about it,” Leahy said. “Booking music is a challenge, and it takes a lot of dedication. We want to help foster the scene.”

For many bands, Sophia’s has become a standard stop on their tour bill, and many of them set to play are repeat acts that want to come back, Leahy said. Portland-based folk artist Ian McFeron, who will perform at Sophia’s on May 16, said that Davis was one of his favorite towns on his tour. It will be McFeron’s fourth time performing at Sophia’s.

“It’s a college music scene, but the college students that we have connected with there have been more than just the ‘party crowd’ – I feel like they’re more cued into music,” McFeron said. “From the first time we played there, I just felt like the people got it, and they were kind and embracing. I felt that we made fast friends there, people that we look forward to go back and see.”

Though Wan admitted that the space was small, many of the performers returning to Sophia’s said their favorite part about playing there was the sense of intimacy that could only be found in a venue of that size.

“You get more of that living room vibe when you’re connecting directly and intimately with the audience,” McFeron said. “The audience has that same energy that you’re putting out.”

Alex Roth, guitarist and vocalist of Mad Cow String Band, said it was the casual, laidback atmosphere of Sophia’s that made it ideal as both a performer and an audience member.

“As a musician, you’re right there,” Roth said. “You’re not way on the stage – it’s close and intimate.”

Shelley Short, a Portland-based folk artist who played at Sophia’s last year, agreed.

“You get to talk to people, you get to hang out with them,” said Short, who will perform May 3 along with Tyler Ramsey and The Dimes.

Though admittance for the shows is only 21 and up, the accepting spirit of Sophia’s also extends to the underage crowd. Unique to Sophia’s is Balcony B, a balcony that overlooks the courtyard area, where those under 21 can also enjoy the music. Whereas most other places would be quick to throw out these underage visitors, Wan said that Balcony B is part of the Sophia’s culture.

“It adds to [Sophia’s],” Leahy said. “If anything, those people are actually there for the music.”

Sophia’s concert season will kick off Friday at 10 p.m. at the restaurant, located at 129 E St. For more information and a calendar of upcoming shows, visit sophiasthaikitchen.com.

RACHEL FILIPINAS can be reached at arts@californiaaggie.com.

Shine a Light

Directed by Martin Scorsese

Concert Promotions International

Rating: 3

Considering its subject is the legendary Rolling Stones and it is directed by the critically acclaimed Martin Scorsese (The Aviator, The Departed), Shine a Light is a surprisingly boring and pointless film. On the bright side, at least only $15 was wasted on the IMAX ticket when it could have cost $400 to see the same thing live.

Scorsese’s film Shine a Light documents the Rolling Stones’ performances at New York City’s Beacon Theater on Oct. 29 and Nov. 1, 2006. These two performances were added onto their tour specifically for filming and featured a set list atypical from their other shows, with notable star guests like former President Bill Clinton, The White Stripes’ Jack White, Christina Aguilera and blues legend Buddy Guy. Mostly filming the two concerts, Shine a Light is also sprinkled with various interview clips with the band from the mid-’60s and is preceded by a semi-fictionalized introduction with Scorsese and the staff on show preparation.

Having consistently used the Stones’ music in his films through the years, Shine a Light is the ultimate love letter to the band from long-time fan Scorsese. As a documentary itself, the film is a more than perfect presentation of experiencing a live concert with the Rolling Stones. Every frame is perfectly shot, every chord is pristinely heard and every wrinkle is distinctly visible. What’s more, due to careful filming from attentive cameramen, we also get glimpses of various band member interactions that may have been missed from the pit.

However, from the point of view of an indifferent listener of the Rolling Stones, the film is highly repetitive and lackluster. The entirety of the first hour or so makes use of the 18 cameras employed for the film, chaotically switching shots from Mick Jagger’s face to his midriff. That paired with blindingly glaring lights and constant 63-year-old hip gyration, in IMAX – the effect is overwhelming.

Don’t expect explanations or a purpose in this movie. The clips of the band in their younger years are very interesting but sparse; they don’t provide much insight into the recent concert and seem to work more as breathers between sets of songs rather than as vehicles of information.

It’s a self-indulgent film that mirrors the Rolling Stones’ general attitude toward why they still tour at the age of 60 and beyond – they do it just because they can. So therein lies the real question: Scorsese can make a film about the Stones, but should he? The Stones have already had so much coverage throughout their long career, and as expected, Shine a Light adds little to the record.

The best part of the concert is when guest performer Buddy Guy all too briefly appears on stage. His mature, cool ease and powerful performance transcends the film, and for a few minutes, you forget you’re not there with him in the Beacon Theater.

Shine a Light feels more like a long and loud inside joke than it does a film that independently stands on two feet. Obviously, this movie will appeal to you if you’re a Rolling Stones fan (and I’m sure you’ve already seen it twice), but if you’re not, don’t expect this film to change your mind.

-Christine Vu

The Mondavi Center for the Performing Arts announces its 2008 to 2009 season, offering patrons the chance to see an impressive line-up of prominent performing artists, lecturers and musicians, as well as emerging talents and newcomers in other numerous fields.

The new season, which is the center’s seventh, runs from October through June and will feature 66 events and 87 performances. Some of the large acts of the upcoming season include Linda Ronstadt in concert, a performance of Hamlet by Shakespeare & Company and a lecture from activist Gloria Steinem.

Some acts are so popular that they sell out completely on ticketholder subscriptions before tickets are available to the general public, leaving out those who want to buy single tickets later on. This is often a problem for students, who either do not know about the subscription option or find it incompatible with their changing schedules, saidpublic relations manager Joe Martin.

“We know that a lot of students feel a bit alienated from certain high profile events, like the recent Jane Goodall lecture, which sold out on subscription,” Martin said. “It is unfortunate, and we are trying to figure out ways rectify this problem.”

Thus, for popular events, the center will now set aside about 10 percent of their ticket offerings exclusively for students, ensuring that those who didn’t have the option of buying a subscription still have a chance to attend. Martin also pointed out that the center’s website offers a free webcast for certain events, such as the Goodall lecturethat many students are deeply interested in but were not able to see live.

The performance of world-renowned cellist Yo-Yo Ma is one of these exceedingly popular events that is expected to sell out very quickly. Although the musician has played with the ensemble Silk Road in the past, this is the first time the musician has played solo in Davis.

“To have an extraordinary artist play extraordinary music is exactly what we are supposed to be doing,” said associate executive director Jeremy Ganter.” As a center, part of our job is to bring the very best, and he is certainly a symbol of that.”

Also expected to sell out quickly is the visit of master violinist Izthak Perlman. Although this is his fourth visit, this year’s performance is particularly special as it is part of his Golden Anniversary Tour, marking the 50th anniversary of his U.S. debut on the Ed Sullivan show. This classic appearance “put him on the map” to the larger public, Ganter said.

“He is alone is one of the world’s greatest violinists, so to give people a chance to see him on a special occasion such as this one is really big,” Ganter said.

Also in store for the season is the opportunity to hear the story of author, lecturer and former child soldier from Sierra Leone, Ishmael Beah. Kidnapped by rebel armies at the age of 13 in West Africa, the now author and lecturer will recount the horrific experiences detailed in Beah’s book, A Long Way Gone: Memoirs of a Boy Soldier.

“It’s mostly about his journey – from being given drugs, machine guns, and being brainwashed into a monster thug and then back into a normal, productive person after being rescued,” Martin said. “It brings well deserved attention to the political situation in Africa that mostly gets thrown on the backburner.”

For those interested in seeing the vibrant glamour of circus arts with music and dance, Canadian dance company Cirque Éloize is coming back to the center for the third time. Similar in style to Cirque du Soleil, the show was hugely popular with past audiences at Mondavi, for example, when they were able to simulate “raining” on stage.

“It’s not quite as big and Vegas-y and glitzy as Cirque du Soleil, but it’s along the same lines – acrobatics, music, songs, jokes, a storyline, juggling, trapeze arts,” Martin said. “It’s a really marvelous show.”

Those interested in particular subjects or mediums – for example, dance, jazz music or distinguished speakers, can now purchase “series subscriptions,” allowing them to buy in bulk for a number of performances of the same type. In addition to a 20 percent discount off regular single ticket prices, subscribers get the “first crack” at seats.

Also available are “Choose-Your-Own Plan” or CYO subscriptions, which offer ticket holders the ability to select five or more performances of their choosing for 15 percent off the regular price as well as priority seating.

For more information on how to buy single event tickets or series subscriptions, call 754-2787. For complete information on the season, including a full listing of events, subscription series, ticket prices and more, visit mondaviarts.org.

SONIA PARECADAN can be reached at arts@californiaaggie.com.

Three individual works of choreographers food science graduate student Ann Marie Dragich and senior dramatic art majors Toni Alejandria and Vivian Thorne come together to form this year’s Main Stage Dance/Theatre Festival, held in the Main Theatre this weekend.

Combining both dance and theatrical elements, Main Stage utilizes the visual and auditory to render an immensely diverse and contemplative production. Each piece radically differs from one to the next, embodying each student choreographer’s unique strengths and creative abilities.

Theater and dance associate professor David Grenke, the festival’s artistic director, has been involved with the festival for five years and oversaw the production of the event.

“My job is to make sure [Main Stage] has a nice build, a program order, and a look and feel of a solidified evening,” Grenke said. “This is the fewest number of choreographers we’ve ever had, and the three of them were very strong in terms of their management skills, their ability to use their time, [and] their follow-through.”

Dragich’spiece Reparté presents a light and humorous piece of adolescence and youthful interrelations, utilizing actions such as bubblegum popping and emphasizing physical body movements and motions between and among the dancers.

“[Reparté] shows very unique characters that are identified specifically through their physical language,” Grenke said. “Ann has a strong sense of rhythm.”

Alejandria’s Prisma breaks away from the normal, everyday routine and into a rhythmic and leap into self-expression and individuality. Each dancer moves to his or her own tempos, using the entire stage and creating a stunning and flowing visual for the audience.

“My dancers come from different backgrounds,” Alejandria said. “Movement was inspired from everything, from people walking on campus to … one of my 2-year-old cousins. We went for an organic and human aspect of everything.”

Thorne’s Life Like Tales spins a masterful web of interactions between a diverse set of roles. Each character offered a glimpse into his and her story – such as the comic juggler’s brief romantic interest in a brooding statue-like figure, or the harsh and strict attitude of a school headmistress.

Thorne, who drew influences from figures such as writer and artist Edward Gorey and film director Wes Anderson, developed each character with life and emotion. Costumes varied from one another, drawing from anywhere between 1880s to 1930s styles, and varied movement and dance patterns added to the sense of difference and distinction between the characters.

“I wanted it to be timeless, without a specific date,” Thorne said. “I’m a sucker for stories and storylines, and I think people like to relate these characters to their own lives.”

Music was a fundamental part of the entire festival and was either carefully selected or originally composed for the performance. Prisma’s score, composed by electronic musician Isaac Blackstock, shifted from moments of lush atmospheric pads to fast-paced electronic pulses.

“My job was to support the choreographers’ vision and not take too much away from the performance,” said Blackstock, a Davis resident from Seattle. “My goal is to have people have the emotional feeling that music can evoke, but at the same time, I want people to focus on people on the stage.”

Grenke emphasized the challenges of using only three student choreographers as well as creating and editing the body language that takes the stage.

“Choreography is a very personal artistic form,” Grenke said. “We have many things we like and dislike about our bodies, and we are very careful about how much we animate our bodies.… It’s a relationship that generally takes a while to build.”

LAYOUT EVENT BOX: The Main Stage Dance/Theatre Festival opened last weekend and continues through this weekend. A performance will be held on Friday at 8 p.m., and the festival will join the Picnic Day schedule Apr. 19 at 1 and 3 p.m. and a matinee on Sunday at 2 p.m. Tickets are $13 in advance and $14 at the door for non-students, and $9 in advance and $10 at the door for students. The Saturday performance during Picnic Day costs $5 or 2 tickets for $7. Tickets can be purchased at 754-2827, with reduced prices for Picnic Day performances.

JUSTIN HO can be reached at arts@californiaaggie.com.

Editor’s note: MUSE offers a monthly feature to highlight artists in and out of Davis that impact our community. This month’s “Five Questions” is with Adam Selzer, the lead singer of the Portland-based folk band Norfolk & Western. Selzer also runs Type Foundry Recording Studio in Portland, where he has worked with M. Ward, Little Wings and The Decemberists. Norfolk & Western will be performing Saturday at the Old Firehouse on campus, along with their Portland friends Weinland and Sacramento’s Silver Darling. For more information on the band, visit norfolkandwestern.org.

1. What’s Norfolk & Western up to currently?

We are recording a new record – we recorded some of it in Spain last year and the rest at my studio Type Foundry. We’re leaving today for a short west coast tour – other than that we’re waiting for the sun to come out so we can barbeque tofu.

2. If you could live in any time period in history, which would it be?

Any time where people did not have access to use cell phones in public.

3. Who is the one artist (dead or alive, widely known or totally obscure) that you’d like to work with?

Studs Turkel. He’s still alive, so maybe I should call him.

4. If I were to make a stop in Portland, where should I eat?

My house – Rachel and I are mean cooks! Or you can get tacos at ¿Por Qué No?

5. In three words, describe your band’s sound.

Shomer fucking shabbos!

LAYOUT: Event box: Saturday, 8 p.m., $6, Old Firehouse

NICOLE L. BROWNER can be reached at arts@californiaaggie.com.