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Kendrick Cochran is a descendant of Samuel Brown, an ex-slave who enlisted in the Union Army in Georgia in 1865 as a member of what was known as the U.S. Colored Troops during the Civil War. Samuel Brown’s final resting place is at Sunrise Memorial Cemetery in Vallejo. The benefit event is being hosted by the Museum of African American Richmond, California and its President/Founder Charles Cavness from 1 to 3 p.m. at the Coronado YMCA, 263 South 20th St. “To preserve and identify place of historic past and future, and to protect the value of African American culture and community,” is how the proposed museum states its mission.

Glenn Kotche, percussion, John Luther Adams: Illimaq “Spirit Journeys” (West Coast premiere) rtbu keeplock chained fetters lockable zip ballet wedge fetish hoof metallic red and others, 8 p.m, Jan, 26, Bing Concert Hall, 327 Lasuen St., Stanford University, $30, 650-725-2787 or http://live.stanford.edu, Unauthorized Rolling Stones, 9 p.m, Jan, 26, Club Fox, 2209 Broadway, Redwood City, $13, 877-435-9849 or www.clubfoxrwc.com, Yo-Yo Ma, cello and Kathryn Stott, piano, Works by Stravinsky, de Falla,Villa-Lobos, Piazolla, Guarnieri, Messiaen, Brahms, 2:30 p.m, Jan, 27, Bing Concert Hall, 327 Lasuen St., Stanford University, $70-$200, 650-725-2787 or http://live.stanford.edu..

Enlivening the supporting roles were mezzo-soprano J’Nai Bridges’ captivating Bersi and Joel Sorensen’s agile Incredible. Catherine Cook’s imperious Contessa and David Pershall’s robust Rouche were standouts, and Jill Grove brought considerable pathos to her short scene as Madelon. Dances, originally choreographed by Andrew George, were revived by Colm Seery. Ian Robertson’s chorus made essential contributions as aristocrats, servants, soldiers, and jurors. Opinions about the merits of Giordano’s score vary widely among opera aficionados, but Luisotti, conducting with his customary lushness and urgency, drew a sumptuous performance from his players. With a performance this assured, the Revolution has seldom sounded so appealing.

After a career as a dancer, including time spent with the Nita Bieber Dancers in the 1950s and ’60s, a group often featured in movies and on television, Fender came to Walnut Creek rtbu keeplock chained fetters lockable zip ballet wedge fetish hoof metallic red to teach, She opened The Ballet School in the 1970s on Boulevard Way, and had so many students the school moved to a bigger place on North Main Street the next year, “Walnut Creek was a very different place then; it was much less built up, and the arts community was small,” said Kerri Shawn, Fender’s daughter, “She loved the arts so much — dance, music, theater, plays — and as her school grew, she presented how the arts played an important part of people’s individual lives.”..

It’s not easy to corral a musical like this that requires the entire cast to act, sing and dance. Fortunately the eight-member ensemble is up to the task as they scramble backstage changing from office workers to cowgirls to doctors, policemen and more. Critic’s choice: Check out Jordan Covington (the acrobatic one) in the opening number. There are a few times when there’s dead space that director Carey could have eliminated, especially in Act 1. Dolores Duran-Cefalu’s musical direction of Parton’s lively score works fine as she and five other musicians play offstage. The crowd favorite is, obviously, the opening number, “9 to 5” which became known as the working woman’s anthem. Most of Parton’s other melodies are straight out of the “easy listening” category.