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Monsters,
Mischief & Magic
With a score by a former Detroiter,
Sendak classic dances on to area stages.
Suzanne Chessler
Special to the Jewish News
R
andall Woolf easily recalls
his very early experiences
on musical stages in Metro
Detroit. At 6 years old, he occasionally
played the bongos with the wedding-
bar mitzvah band led by his grandfa-
ther Sammy Woolf.
Forty-one years later, with a doc-
toral degree from Harvard and many
composing commissions behind him,
Woolf is represented on the stages of
the Wharton Center for the Performing
Arts in East Lansing and the Detroit
Opera House as composer for the bal-
let Where the Wild Things Are.
The production, based on the
children's book by Jewish author
Maurice Sendak and directed toward
families, will be performed 7:30 p.m.
Wednesday, March 28, in Lansing
and 11 a.m. Friday and 2 and 5 p.m.
Saturday, March 30-31, in Detroit by
the Grand Rapids Ballet Company.
"I like to think that the music is a
good combination of all the elements
of the story," Woolf says about instru-
mentally telling the tale of mischie-
vous Max and the creatures he finds in
a new land.
"The ballet mixes the kinds of
music that a lot of adults grew up with
and share with their kids — classic
rock, rhythm and blues and more
modern elements. I also think this
music talks to kids as if they were
adults."
Woolf wrote this score 10 years ago,
after being recommended to Sendak
by Oliver Knussen, a composer Woolf
had worked with at the Tanglewood
Music Center.
"Knussen wrote the music for the
opera Where the Wild Things Are,
and they tried it for the ballet',' Woolf
explains. "When it didn't work well, he
suggested Maurice Sendak call me."
The ballet, choreographed by
Septime Webre, artistic director of
the Washington Ballet, has been per-
formed more than 70 times around
the country with sets and costumes
designed by Sendak. The music is
available on CD.
Woolf, who has played piano with
an urban band featuring singer-song-
writer Tyrone Henderson, thought
about becoming a musician when he
was 11 and just learning the keyboard.
He got to know jazz musicians who
worked with his grandfather and lis-
tened to their advice.
While attending Birmingham
Groves High School and getting to
know guitar, Woolf appeared with
small rock bands. The first piece he
wrote was for one of those bands, and
he terms it "progressive rock." His first
classical piece, Interiors, was writ-
ten while attending Michigan State
University.
"The local jazz musicians that
I knew said I should go to college
for music, and I wound up going to
Michigan State, where I was very
behind in the classics," Woolf recalls. "I
switched my major to English.
"I studied music on my own for a
couple of years while living in France
and Minnesota. I moved to Boston
Composer Randall Woolf
around 1982 and was very lucky to
study with Joseph Maneri, a serious
jazz musician who taught counterpoint
and harmony. I also studied orches-
trations with David Del Tredici and
then decided I should go to graduate
school.