The Atlanta Journal-Constitution
WHERE YOU CAN RING IN NEW YEAR WITH MUSIC
Jam bands, R&B highlight New Year’s Eve concert choices.
As posited by artists ranging from Nancy Wilson to Ella Fitzgerald to Harry Connick Jr. — what are you doing New Year’s Eve?
You still have a few weeks to answer that. But plenty of Atlanta venues will be bopping as the clock ticks toward midnight.
Here are some possible places to rock out in the waning hours of 2017.
All concerts are Dec. 31 unless otherwise noted (some acts will regale Atlanta audiences for multiple performances). As well, tickets to all concerts can be purchased at www.ticketmaster.com or by calling 1-800-7453000 unless otherwise noted.
Xscape. Since reuniting earlier this year, the beloved Atlanta group — Kandi Burruss-Tucker, Tameka “Tiny” Harris, and sisters LaTocha and Tamika Scott — has performed at the BET Awards and embarked on “The Great Xscape Tour.” As we know, reunions are often fleeting, so enjoy hearing “Just Kickin’ It,” “Understanding,” “Who Can I Run To” and other favorites while you have the opportunity. With Tamar Braxton. 8 p.m. $89-$149. Philips Arena, 1 Philips Drive, Atlanta.
Widespread Panic. Die-hard fans of the Athens jam kings were understandably bummed when the band took its traditional New Year’s Eve show to Nashville last year. But they’re back for a trio of more intimate shows at the Fox. Since the band is renowned for breaking out covers during its holiday shows, www.jambase. com has compiled a handy list of 10 cover songs the Panic has debuted on a New Year’s Eve concert. 8 p.m. Dec. 29-30; 9
priate for the time period. True to form, Gunderson delves into social convention and weaves in feminist undertones with sarcasm and wit. In a scene where Arthur is complaining about how the duties of being a lord have taken him away from his studies at Oxford, Mary chides him, explaining that as a man of means, he has all of the choices in the world. The idea of marriage for love versus marriage for money is relatively new at this time, and there is a genuine fear among society women about what will happen to them if a man does not marry them.
Carolyn Cook directs a strong ensemble with impeccable comedic timing. Hale sis a welcome burst of energy as rosycheeked, loudmouth Lydia, and Rodriguez-Sager’s Jane shows the actress in rare form with a light and fluttering affectation in her voice and an amusing waddle as she eats for two. The chemistry bet ween Horne as de Bourgh and Fischer as Mary is delightfully awkward to watch. When Bingley and Jane talk about the extraordinary nature of bringing a child into the world, Arthur and Mary go onto offer statistics of how many childre na reborn everyday and how ordinary child- birth really is.
In another scene, Lydia tries to lure Arthur under the mistletoe, and he says, “You shocked me with your flora ,” and goes on to explain the poisonous properties of the plant. The play really shine sin the quips exchanged bet ween the men when they offer each other counsel about courtship and fatherhood. When Bingley is anxiously asking what he should do to be of more use before the baby is born, Dar cy says, “We are gentlemen, Bingley. We sit. We wait for the excitement to come to us.”
Kudos are well-deserved for set designer Sea mus M. Bourne, who decks the drawing room at Pemberley with books from floor to ceiling and beautiful turquoise furniture. The set is enhanced by lighting designer Alex Riviere’s