Photo courtesy of Vaquero Playground and John J King’s sexy booty.
You Only Live Twice!
Today, May 28 2013, would have been Ian Fleming’s 105th birthday. But he was a life long smoker; that shit’ll kill you.Unlike Fleming, Tomorrow Never Dies. But come this weekend, DENMARK must close. Give yourself a Quantum of Solace and come enjoy the show before it does!
Senior Mirth Manager John J King has vowed to do his curtain speech as an iconic Bond Girl for every show that sells out – see his gold-plated Tilly Masterson, from Goldfinger, above. Who knows what this week will bring?! Continue reading →
When I was in college, a friend of mine decided the best birthday gift for his jock roommate would be a striptease, and he would not be dissuaded. As the birthday party was winding down, my friend burst into the party wearing nothing but terrible lingerie and he proceeded to slowly strip. His roommate laughed as the joke began, but he grew increasingly alarmed, realizing that my friend might go the Full Monty. The jock began to plead with my friend not to go all the way (this was Indiana in the nineties, after all), but with a big build-up, my friend took it all off anyway. It has become the most memorable striptease in my (cough) semi-extensive memory. Continue reading →
(Boston) Oh, science fiction looks so easy to do when you have a CGI budget and a sleek deck of a starship to command, but it can be deadly to stage, especially when you’re working with a new play. It’s then that we learn that space thrusters look ridiculous when constructed by duct tape, and phrases like “reverse the ion thrusters” just don’t roll off the tongue.
That’s what makes the sci-fi play Solace, written by Boston playwright A. Vincent Ularich, such a marvel. For my money, this production, staged imaginatively and thoughtfully by the Science Fiction Theatre Company, is the sweetest surprise of the theater season. Ularich, director Anna Trachtman and the strong overall cast have conjured up a love story about the future that retains all the heart of the present. This play’s flaws quickly fell by the wayside, as I was drawn into the funny, sad and evocative world created on stage. Continue reading →
Liars and Believers’ Icarus is a wobbly production, a Depression Era circus fable that limps when it pushes hard to soar. Like a small bird, the show is both endearing but weak. Its flourishes are strong: puppets, bluegrass, and robots. The result gives the audience a series of intriguing set pieces but nothing that really coalesces into a grand story.
Jason Slavick packs a lot into the show, the separate parts fluid and vibrant. The lead-up to the play itself includes burlesque and music, giving the centerpiece, Minnie Minoseczeck’s Menagerie of Marvels, a vaudevillean glamour. The trimmings for the circus are convincing, complete with posters promising a minotaur and a flying woman, Penny (Corianna Moffatt). Continue reading →
(Cambridge) The Hypocrites’ production of Pirates of Penzance is an absolute confection. Adapting the beloved Gilbert and Sullivan operetta to a quirkier, more contemporary stage, Sean Graney and Kevin O’Donnell infuse the original libretto and its score with banjos, bathing suits, beach balls, and a warmth that charms but never cloys. It’s energetic and just plain fun.
Premiering in New York in 1879, the original show has a long history of making audiences titter at lyrics like, “I am the very model of a modern major general.” The comic opera lampoons Victorian concepts of honor, piracy, politeness, the literary inconveniences of being a foundling, and, most importantly, duty. Continue reading →
Since their debut with What Are You Doing Here?Project:Project has been asking questions. What is our relationship to technology? How do we use it? Why do we cling to things that are obsolete? How May I Connect You (Or, Scenes in the Key of D:\) takes our play making to another level.
HMICY? explores our current hyper-connectivity, as well as how our relationships and communication styes have changed over the past years due to technology. We’ve been interviewing people from ages 17-70, and HMICY? is a direct result with songs, dances, and stories devised directly from those inspirational conversations.
Your contribution will fund the following components of our show:
1) Space Rental at the Calderwood Pavilion at the Boston Center for the Arts (because it’s the most conducive space to the story we’re telling).
2) Provide Stipends for our design team (because paying people for their work is the right thing to do).
Your contribution ensures that we can tell this story in the best possible way with the best possible people. Doing what’s right is important to us, and we hope you feel the same way.
Leading up to our performance in September we’re continuing to create an ensemble based, collaborative piece of theatre that will evolve until opening night.
Project: Project is a troupe producing ensemble-created, original stories that combine scripted material with improvisation. Preferring creating to interpreting, we explore and experiment with form, storytelling, and the role of the audience.
If you can’t give at this point, we hope you’ll join us in spreading the word.
This morning I had the pleasure to hear and meet Mr. Wesley Ray Thomas, The Opera Guy, at Alewife station. He was singing some lovely arias and it appeared he had been doing so since early in the morning. His commitment is exemplary.
He is a perfect example of seeking performance at every opportunity. He was at Alewife at 8:30AM on a FRIDAY singing the crap out of a Verdi aria. The aria was semi-staged, beautifully sung and, equally as important, this busker was making dough rise out of his pockets. Ladies and gentlemen, put this man in your shows.
Opera isn’t everybody’s thing. It doesn’t have to be to appreciate the fine art of performance and a dedication to craft.
Keep on rocking on, Mr. Thomas.
Wesley Thomas singing Jago’s Creed: “I believe in a Cruel God” from Verdi’s Opera “Otello” from Lowell House Opera’s 2009 production. Channing Wu conducts.
The Opera Guy busking on the Prado in Boston’s Historic North End. Sung in the original Baritone key.
(Cambridge) This weekend, local Boston-area theater group Liars & Believers will be putting on its new show, Icarus. It will be at the Cambridge YMCA Theater in Central Square this weekend only on May 17th and 18th.
Described as a show about poverty and transcendence, this American-bred tale uses the Great Depression as a backdrop as we follow Minnie Minoseczeck’s Menagerie of Marvels. The play is written and directed by Jason Slavick with original music and lyrics by Nathan Leigh. Included in the production is puppetry, designed and directed by Faye Dupras.
The myth of Icarus is well known in the Western literary canon, a fable to illustrate the crippling nature of success. A boy, given wings made from feathers and wax, is given the ability to fly. Once airborne, Icarus flies so close to the sun, the wax that holds his wings together melts. He plummets into the sea, a metaphor for the deadly foolishness of egotism and youth.
Liars & Believers is a mainly experimental troupe, one that prides itself on integrating different artistic pursuits into unique, chimera-like productions. Their shows often include dance, song, aerial gymnastics, spoken text, and numerous interdisciplinary forms. Previous efforts this year include Lunar Labyrinth, a show loosely based on a short story by Neil Gaiman. Lunar Labyrinth combined and rejoiced in different storytelling methods, knotting its plot and themes into dreamy contortions. Icarus promises to be a show in a similar mold.
The idea for Swiftly Tilting Theatre Project came out of my deep need and love of theatre, which I want to share with everyone. I forgot when I started the kickstarter that this didn’t mean demanding more from those who have more or not giving to those who have less.
Everything good and right in my life has happened when I have been honest and true. That doesn’t change because it is “business,” IF WE’RE GOING TO MAKE THIS HAPPEN, WE’RE DOING THIS TOGETHER! Continue reading →
Book and lyrics by Betty Comden & Adolph Green
Music by Leonard Bernstein
Based on an idea by Jerome Robbins
Directed by Spiro Veloudos
Music direction by Jonathan Goldberg
(kick-ass) Choreography & musical staging by Ilyse Robbins
(Boston) On the Town is a sweet little musical about what happens when three horny US Navy men seeking adventure visit NYC for 24 hours. As the plot thickens, they meet their equally horny female counterparts, do some healthy snogging, see some sights and return to duty. It’s mostly romantic. The Lyric Stage delicately wraps these adult themes in saccharine sweet nostalgia, excellent choreography and Bernstein’s music. Although this could be for mature audiences only, it is presented as tasteful family-friendly material. Continue reading →