Jay Harvey Upstage

A midcentury fixture in Chicago's Loop, the Blue Note played host to a variety of the era's brightest stars under the watchful, welcoming eye of Frank Holzfeind, who founded the club in 1947. Now, by arrangement with the proprietor's family and with cooperation from the Art Tatum Estate, comes a three-disc set of Tatum trio performances from August 1953. Resonance Records last month released "Jewels in the Treasure Box," a package with the label's usual elan of verbal and visual support in the accompanying booklet. The classiness rests on a firm foundation of worthy recordings, previously unreleased and brought to light with the tireless dedication of Zev Feldman. Tatum is the genial, relaxed voice introducing the tunes, reflecting his comfort at the jazz club — an impression he shared with many other great jazz figures who appeared there, including Ella Fitzgerald and Duke Ellington. The pianist's rapport with his sidemen, guitarist Everett Barksdale and

"Send In the Clowns" is a rarity among modern musical-theater hits in being selectively lifted from the show by singers who simply want to do it, even though Stephen Sondheim's most popular song is thoroughly nestled in, and essential to, "A Little Night Music." A production of the sometimes blithe, sometimes sentimental operetta by Indianapolis Opera runs through today at the Toby at Newfields . Predictably, "Send In the Clowns" went over superbly as delivered by the aging actress Desiree Armfeldt in the second act. The song can best be understood in context, despite the way it has been put across by everyone from Frank Sinatra to Renata Scotto. Desiree and Frederik refresh their bond.  Here it was beautifully set up by the orchestra, under the sensitive direction of Alfred Savia, and performed within an aura of Desiree's cherished memories and indelible regret by Heather Hertling Narducci. In the reprise, she was joined by Daniel Narducci (her hu

  now and then there is a person born who is so unlucky that he runs into accidents which started out to happen to somebody else In the golden age of newspapers last century, Don Marquis' inimitable lower-case cockroach Archy exuded bug wisdom in free verse. The insight above can be applied to the particular situation of Romeo in Shakespeare's romantic tragedy, the basis of the ballet "Romeo and Juliet." A spectacular new production debuted Friday night at Clowes Hall in the first of three performances marking an unprecedented collaboration of Indianapolis Ballet and the Indianapolis Symphony Orchestra. What about Juliet? Well, she also runs into accidents, the product of her forbidden love across the formidable barrier of a family feud. Feuds, after all, are "accidents which started out to happen to somebody else." But her fate is bound up in the patriarchy of the Renaissance, with gender roles rather more restrictive on women than they are today.  The c