Line in the Sand
Cardinal Gibbons Performing Arts Center—In Line in the Sand, a border patrol guard tries to explain his perspective on the land he has sworn to protect: "You see, the first thing you need to know ... the first thing you need to understand is that there is 1,100 square miles between the Mexican border and Tuscon." And yet the difference between the American public knowing about the immigration issues in the United States and understanding them is a much larger area to cover.
The Justice Theater Project attempts to bridge this gap with its most recent production, a script created from interviews done on both sides of the Arizona/ Mexico border in 2005. Four actors, two white and two Hispanic, play multiple roles, including parents, children, guards, translators and volunteers. The depths of their stories prove that millions of people, not just immigrants, are affected by the lack of practical and humane immigration legislation. "We want this performance to stir up conversation," says artistic director Deb Royals, who traveled to the areas discussed in the play and, even after three years of working with migrant workers in North Carolina, was blown away by the unbelievably dire poverty set up along our border.
Along with the performance, there will be an art exhibit featuring the Border Wall Project by Duke Center for Documentary Studies students and art by Tucson artist Debbi McCullough. Each Saturday performance will also feature a postplay speaker from Catholic Relief Services, as well as ministry coordinators from St. Francis Catholic Church or from the international experiential education program BorderLinks. "Though the play does not have a religious message, it does make you think, 'Who are our neighbors?'" says Royals. "Who do we help? Who do we feed? Who do we give a cup of water to in the heat of the desert?" —Jessica FullerLine in the Sand opens Friday, June 6, continues tonight at 8 p.m. and tomorrow at 2 p.m. The run ends next weekend. Visit www.thejusticetheaterproject.org for more info.
N.C. Symphony + Percussion
Koka Booth Amphitheatre—With its naturally pulsed suspense, Maurice Ravel's "Bolero" is already dramatic. But, by working with guest percussionist Evelyn Glennie and 10 local high school students performing drumline accompaniment, the N.C. Symphony hopes to augment that feeling. "Bolero" is a percussive end to a program that also includes pieces by Gershwin, Copland, Handel and Vivaldi, many of them featuring Glennie, who's made a name as one of the first and most noted solo percussionists in classical music. The 7:30 p.m. show costs $20. —Margaret Hair
The Cave—Luego frontman Patrick Phelan and Paleface couldn't sound more different: Phelan's voice is a smooth Neil Young drawl, resting comfortably in the upper register, and Paleface carries a deep, sore-throated instrument, like tires that have been treading the same gravel daily for a few decades. But the two match musically, both kicking up dust-cloud shuffles of mid-tempo Americana, Luego with a fine-grained smoothness in its strings and Paleface with a grittier back-porch rollick. Paleface kicks it off at 10 p.m. —Bryan Reed