All you have to be is between the ages of 8 and 18 and capable of getting through one of the toughest musical assignments in the business -- singing our National Anthem. With its famously treacherous range, "The Star-Spangled Banner" takes more than rudimentary vocal skill, so any anthem competition has the distinct possibility of veering into The Gong Show territory. But the BSO's venture certainly has the possibility to uncover some notable singing talent  

Contestants must be able to warble the anthem in either B-flat or A-flat major. An accompanist will be provided for the auditions, which will be held on June 9, from 4 p.m. to 9 p.m., at Meyerhoff Symphony Hall. Winners will get to sing during the BSO's patriotic-theme concerts July 3-5, conducted by Constantine Kitsopoulos, at the outdoor Oregon Ridge, which typically draws thousands of listeners. 

Judges include Reagan Warfield from 106.5 FM. To register for an audition, applicants must email their requests by 5 p.m. June 4 and, among other things, include a statement of why they want to win this opportunity. Parental permission forms are required for those under 18.

Click here for more info.     

The Olney Theatre Center has concluded its nearly year-long search for an artistic director by hiring -- (drumroll, please) -- Jim Petosa, who has held the identical job at the Montgomery County performing arts complex for the past 15 years.

Petosa initially announced in June 2007 that he would leave the theater center at the end of the current season, in part to devote more time to Boston University, where he is stage director of the school's Opera Institute. Recently, the board asked Petosa to reconsider his decision to step down. 

In a news release, Petosa says that his decision to remain at Olney was influenced by the recent hire of Amy Marshall as Olney's new managing director.

"I am energized by the Board's unexpected invitation to continue as Artistic Director," he says. "It is a new chapter in the life of this theater." 

(Photo courtesy of The National Players)

Two artists associated with Oprah's presentation of The Color Purple returned to their gospel roots Sunday in brief appearances at Bethel AME.

Fantasia, the American Idol winner turned pop singer turned stage actor who portrayed Celie in the Color Purple on Broadway, brought the capacity crowd at the 11:30 a.m. service to their feet with "Jesus Be a Fence Around Me,'' and "The Lord Is Blessing Me Right Now,'' two traditional gospel songs most churches and choirs know.

A red-haired Fantasia made a point to tell the audience about how gospel is still a part of her life.  Her grandmother and mother, who were with her at Bethel, are ministers.

"Most of you know I'm a church girl,'' she said to the capacity audience at the church on Druid Hill. "Every now and then I have to give some praise.''  
 

Jon Favreau in Iron Man strives to make a sophisticated superhero movie and does his job so well that with New Hollywood personnel he creates the sort of classy Old Hollywood entertainment that adults, teens and kids all enjoy, albeit at different levels.

In an interview a month ago, he said parenthood actually helped him arrive at his current accomplishment.

"As people become parents, it takes a lot of wind out of their sails, creatively or as far as their career goes, because it becomes your life work," says Favreau. "But for me, what’s fun is I get to make movies that help me parent. I can even share the experience with my 6-year-old – 'Here, come to work with Daddy, here’s what I do, here’s this, take a look at this one.' Making movies that make my son light up becomes part of the parenting experience. Elf, Zathura and this one are not geared for a 6-year-old, but they’re something me and my 6-year-old are bonding over. "

Favreau’s dual parent-child perspective has enabled him to take family-film forms and give them just the right amount of twist to please critics without alienating regular moviegoers.

In the noon-2 p.m. time slot, where Sun columnist Dan Rodricks took over for Steiner beginning Feb. 25, WYPR took a considerable hit among listeners ages 25-54. The share (that is, the percentage of listeners tuned to a specific station in an average quarter-hour) declined 55 percent from a year ago (2.0 to .9). The total number of those listeners in a given week fell from 25,300 to 14,100.

Among overall listeners 12 and older, however, the change of share was only slight, from 2.2 in Winter 2007 to 2.0 in winter 2008; in fact, it grew from the last quarter of 2007 to the first quarter of 2008 (1.4 to 2.0). Among listeners 55 and older, the listenership grew considerably, from a 3.3 share in winter 2007 to 3.9 in winter 2008 (the increase was even more marked from the last quarter of 2007 to the first quarter of 2008, 1.9 to 3.9). The weekly average of those listeners increased from 16,100 to 26,900, almost making up for the loss in the 25-54 age group.

It's too early, based on the ratings, to make any grand assessment of how listenership has been affected by the Steiner furor. Typically, any abrupt change in programming results in a drop in listenership; whether the numbers pick up again will be measured in future ratings books. It's also possible that all the tumult over Steiner's firing attracted some curious listeners to the station, which could lead to a short-term spike in the ratings (judging by WYPR's numbers, the over-55 crowd must have been especially curious). Again, the question is, are those numbers temporary, or will they translate into loyal listeners?

The ratings were released last week by Columbia-based Arbitron.

Pulitzer Prize-winning, Baltimore-born Christopher Rouse has been named Distinguished Composer-in-Residence at the Peabody Conservatory, where he'll work with composition students starting in the fall. An annual public concert of Rouse's music will also be part of the residency.

The composer, who is on the faculty of the Juilliard School in New York, lives in Baltimore, where his work has long been championed by the Baltimore Symphony Orchestra. Current BSO music director Marin Alsop is among his advocates; she conducted his Flute Concerto here in March and is conducting his Der gerettete Alberich this week with her other BSO, the Bournemouth Symphony Orchestra, in England. 

PHOTO: Christopher Rouse consults with Marin Alsop during a Baltimore Symphony Orchetsra rehearsal. Baltimore Sun Photo (Monica Lopossay)

Sara Rutstein, the second-in-command of Everyman Theatre, announced her resignation earlier today. Her last day will be July 31, departing shortly after Michael Ross leaves a similar post at Center Stage. Signature Stage in Arlington, VA., also lost Sam Sweet, its longtime managing director, earlier this fall.

Like Ross, Rutstein doesn't have another job lined up, though she has told friends she'd like to find a position better utilizing her recent MBA from the Kellogg School of Management at Northwestern University.

"I will always cherish my time at Everyman and I have high hopes for its future," she says in a news release. "The staff is exceptional, and the work the company produces is first-rate. It is simply time for me to explore different career possibilities and move on to new challenges."

With brio, humor and self-effacing candor, van Peebles' film, which debuted at the Tribeca Film Festival last weekend and was getting its second public showing here in Baltimore, celebrated a life of equal parts confusion, obstinance and perseverance. Employing everything from from slow-motion to animation, from rotoscoping to a guy in a gorilla suit, Confessionsofa was the work of a mind that will never grow either old or content.

Thanks, Mr. van Peebles, for reminding us all how much fun creativity and passion can be.

See a clip from the film here:

For an hour and half, the capacity crowd at the Meyerhoff Symphony Hall listened to the 75-piece orchestra, accompanied by a choir, perform contemporary and traditional gospel songs. The two combined to do Kirk Franklin's "My Life Is In Your Hands,',  Anthony Wilkin's "Grace,' and Walter Hawkin's "Jesus Christ is the Way,'' among other well-known songs.

However, there were times when the volume of the music made the choir's vocals indistinct.

Atwater, who promised, "Tonight, we are going to have church,'' seemed to quench the spirit in several spots in the program. 

Although the crowd applauded for several minutes after a soloist did a powerful version of Donald Lawrence's "When the Saints Go to Worship,''  the orchestra quieted.  No other song received such a huge standing ovation.

Lawrence, who made three appearances in the second half of the program, appeared out of place as well.  

His initial five-year contract calls for a minimum 10 weeks of subscription concerts each season. Muti, who recently ended a productive, if often stormy, tenure as music director of La Scala in Milan, succeeds Daniel Barenboim.

As one of the world's greatest orchestras, the Chicago Symphony has a distinguished history of music directors, including Georg Solti and Fritz Reiner. Muti guest-conducted the CSO last fall in Chicago and on a European tour, generating enormous praise and a steady buzz that he should be given the podium full-time.

The breaking news item posted by my colleague John von Rhein on the Chicago Tribune Web site includes a link to the CSO's press release on the appointment.

The Muti coup in Chicago (the New York Philharmonic had wooed him too, before choosing Alan Gilbert) puts renewed pressure on other major ensembles still left with music director vacancies -- the Philadelphia Orchestra (where Muti was once music director) and the National Symphony. Stay tuned.

Photo: AP

Everyman Theatre initially announced plans to relocate to the Town Theatre on the West Side in the fall of 2009, but the troupe's move has been pushed back. 

For the next two or three years, the actors will continue to perform in the intimate, black box venue at 1727 N. Charles St. Artistic director Vincent Lancisi says that tax credits and paperwork are delaying the relocation until 2010 or 2011.

"When I began this process, experts told me that building a new theater would take more time, and cost more money, than I ever thought possible," Lancisi says.

How did you find this story?

I was going to international conferences, and I went to a conference in Miami on water, specifically on water privatization. I heard Maureen Taylor, of Michigan Welfare Rights, talking about the 52,000 water shutoffs in Detroit alone. She's a very compelling speaker, and she moved me to want to make a movie. So I went to Highland Park, and I found that she was way too busy to be a subject of a film. But she put me in touch with some people who had had their water cut off, and I found that almost half the people in the city had had their water cut off. The irony of this city being close to the largest body of fresh water in the world was too drastic to be ignored.

How has the public reacted? The people in Highland Park?

I've shown it internationally, and I've shown it in Highland Park. The reaction to the film has been shock, in some cases indignation. Because it's had these international screenings, people are very intrigued to know that this sort of city and water problem is happening in the United States.

We screened it in Highland Park before we had finished the final cut. It was a full house, and there was heated debate. We actually recut the piece based on some of the feedback that we got. Some of the residents felt that we were showing Highland Park to be a broken city. There are residents who have lived there their whole lives, who work on a regular basis to keep their block of the city beautiful. So that was an incredibly important screening.

It was important for the film to serve as a catalyst for dialogue.

You admitted that one of the film's shortcomings is that it didn't always explain the complex issues involved adequately. Do you feel you could have done better?

The issue is, how do you balance telling a good story and informing the public? I was nervous that the water affordability plan (favored by Highland Park residents), would be more technical than audiences would be interested in. But I think people are interested in this alternative. And so, instead of lamenting, what we've done is put the entire plan on the Internet.

A few thoughts on this morning's screening of Josef von Sternberg's 1927 Underworld, complete with musical accompaniment by the three-piece Alloy Orchestra.

This marks at least the fifth time Alloy has come to the festival and played its scores for a classic silent (past films have included Harold Lloyd in Speedy, Alfred Hitchcock's Blackmail and F.W. Murnau's Nosferatu). If the festival did nothing more than bring the Alloy to Baltimore every year, it would earn movie lovers' undying gratitude. Alloy's jazz-heavy score for Underworld was a delight, and a perfect way to experience the early days of what has become the world's most dominant art form. Thanks, MFF.

Who says you need sound for snappy dialogue? Underworld, though silent, included some great, gritty language and turns of phrase, no less magnificent for having to be read rather than heard. Two samples: When tough guy Buck decides to impress flapper Feathers (Evelyn Brent), he tosses a $10 bill in a dog food dish.  "Watch me show that dame what I think of money," he scowls. And when Feathers decides to impress her newfound mark, the decidedly disintersted Rolls Royce (Clive Brook), she purrs, "How long since you had that body washed and polished?"

Even this early in his career, von Sternberg displayed an impressive feel for lighting his stars' faces to best advantage, a talent that would be showcased even more once he became the director of choice for Marlene Dietrich. 

Sun photo of the screening of "Underworld" by Amy Davis.

Hundreds of people lined up to peer through a magnifying glass Billy Pappas' drawing of Monroe after the screening of Waiting for Hockney at the Maryland Institute College of the Art this afternoon. 

The film documents Pappas' eight-and-a-half year saga to make an extremely detailed drawing based on a classic Monroe photograph. 

"From far away, it looks like a standard drawing," said Stephen Doolittle, a MICA grad student who lives in the city and saw the film. "Close up, it's almost breathtaking. The details are amazing. There was a moment where I said, 'Oh my God.'"

Left: The photo by Richard Avedon that inspired Billy Pappas' work.