Central Arkansas venues have a full week of commemorative events planned
UNKNOWN MORTAL ORCHESTRA
9 p.m. Stickyz. $10 adv., $12 day of.
This show has been marked on a lot of folks' calendars for several months now. Portland-based Unknown Mortal Orchestra has only been around for about seven minutes (OK, three years if you wanna be accurate about it) but the band has already gone from elusive Bandcamp mystery to award-winning psych-pop outfit with two critically acclaimed albums under its belt. The trio put to rest any concerns about a sophomore slump with its follow-up, "II," also earning a generally warm reception. The first album had an appealingly underwater-sounding lo-fi mix while "II" puts just a tad more shine on the sound, but only a tad. At its core, this is still music that manages to sound like a long-lost '60s psych nugget, yet also something totally otherworldly. It's much more than just three dudes going through the motions of perfectly recreating something from a bygone era.
KYLESA, PINKISH BLACK
8 p.m. Downtown Music Hall. $12 adv., $15 day of.
Kylesa has deep roots in the fertile musical ground of Savannah, Ga. The band has been around for more than a decade, and formed out of the ashes of '90s crust/hardcore greats Damad (whose "Rise and Fall" is a touchstone of sludgy Southern hardcore). As with many of the group's peers, Kylesa has taken sounds from outlying genres (psychedelia, shoegaze) and worked them into its overall downtuned, heavy sound.
The band is on tour with Fort Worth duo Pinkish Black, whose recent sophomore album "Razed to the Ground" is a further refinement of their foreboding sound. The new album is a bit more on the death-rock side of things, though with moments of unnerving synth drone that churns like Tangerine Dream's psychotic cousin.
7:30 p.m. The Weekend Theater. $12-$16.
Though Henrik Ibsen's "A Doll's House" was controversial in its day for its unconventional approach to the prevailing social norms of the late 19th century, the work is unquestionably one of the cornerstones of contemporary realist drama. It's one of the most widely produced works of any playwright of any era. So why would Ingmar Bergman want to remake it? Matt Patton, director of The Weekend Theater's production of "Nora," offers some insight in his director's note: "As to the former, I can only speculate that [Bergman] felt the need to address what he (and many other directors and critics) perceived as a basic flaw: Nora's transformation from a naïve child to a mature woman in the matter of only a few days." Patton figures Bergman cut out about one-third of the lines of dialogue in the original. "So what, then, did Bergman add? Nothing! As best as I can determine, he did not create a single line of dialogue. He did, however, significantly rewrite some stage directions, most notably in the final scene, and thus giving that scene a completely different orientation. Even if you are familiar with the original, I think you will be startled by the conclusion of Nora." Sounds interesting. The play runs at 7:30 p.m. Fridays and Saturdays through Oct. 19.
FRIDAY 10/4-SUNDAY 10/6
ARKANSAS FESTIVAL BALLET: 'AT THE BARRE'
7:30 p.m. Arkansas Academy of Dance. $15-$20.
Ballet fans, you're on notice: This weekend, Arkansas Festival Ballet will be presenting "At the Barre," an intimate performance at the Arkansas Academy of Dance Studio. For the Friday and Saturday evening shows, there will be a pre-recital wine bar and reception, so you can have a glass of Shiraz or something before watching the dancers as they bring to life excerpts from "Giselle" and "The Firebird," with original, new choreography from UALR artist-in-residence Rhythm McCarthy. As for music, how about Bach's Brandenburg Concerto No. 3? There will be a no-booze reception before the 2 p.m. Sunday matinee performance. Friday and Saturday start times are 7:30 p.m.