Center stage

The lights dim. The conductor, well-beloved and humble, speaks the opening words. The audience is put into the right mood.

The orchestra starts to play The Barber of Seville Overture. The music pokes fun at “real” opera. Thoughts of old Bugs Bunny shows freely roam through minds. The players express their fun-loving joy. Rehearsals and practice behind them – now they have just the music. Some play without pause, others stop to quickly turn a page. A silent service.

The reaction from the audience is immediate and sincere.

Conscious of those who come behind. Sliding chairs. Moving stands. Making room. Waiting patiently. Most of the players exit the stage.

A quintet remains to perform a Corelli piece comprised of six movements. Moving from walking rhythms to more lively tunes, the players’ hard work and skill are swallowed up in musical expression. The first and second violinists enter into a lively interplay with one another. Both violists and the cellist enter the frolic as well.

The crowd responds with delight.

Every musician returns to the stage. Bach’s Brandenburg Concerto No. 5 is introduced as a baby grand piano is wheeled to center stage. Three musicians move gingerly forward taking their places at front stage. Joel, a tall, confident high school senior, holds his violin. Next to him standing composedly is Katie, a lovely flutist. Seated next to her is Lindsay, the radiant, graceful pianist. The conductor sets the stage for the music and turns to his orchestra. His hands motion the instruments into playing position. All is ready.

The familiar concerto leaps forth. After the first movement, the audience is not able to contain themselves and claps and cheers loudly. Performance decorum demands silence between movements, but decorum would never do at a time like this. Silence is no response for such wonderful music. The audience too must have the center stage so an involuntary outburst of clapping and cheering ensues. Two more movements round out the concerto and allow the audience to clearly hear the solo instruments.

The final piece to be performed is Beethoven’s Egmont Overture. The performance is powerful and dramatic. The music ends. The audience jubilantly rises in standing ovation. Flowers are presented. The air is electrifying.

But wait. It’s not over yet. The orchestra has a surprise in store for their beloved conductor and his wife. To celebrate the very day of their 22^nd wedding anniversary, the players have prepared some waltz music so the couple can dance. The music begins and the lovers dance. Center stage belongs to them now. Smiles are all around. The song ends and the dancers bow. Then suddenly the players begin to play a second waltz. The crowd laughs to see the conductor and his wife’s dance prolonged. They dance again, start to bow only to hear the players begin their third waltz. The hilarity compounds and the conductor pleases the crowd with silly antics looking at his watch, borrowing a cane from an old lady as he pretends to grow old during the dance, and hooking his wife toward him using the cane as his arm’s extension. To the delight and amusement of the audience, the players let the couple complete their dance after the fourth waltz.

Wonderful interplay. Wonderful music. Wonderful day.

This is the true story of Saturday's concert performed by the KASH (Kokomo Area Schools at Home) High School Orchestra. The conductor is John Christenson. Candace, Amy, and Ben are all players.