Thursday, September 11, 2014

Broadway News: Dexter's Michael C. Hall to Take Over Lead in Hedwig and the Angry Inch October 16 2014

From a media release:

Dexter's Michael C. Hall to Take Over Lead in
HEDWIG AND THE ANGRY INCH

GOLDEN GLOBE & DRAMA DESK AWARD WINNER
TO JOIN TONY AWARD WINNER LENA HALL
BEGINNING THURSDAY, OCTOBER 16, 2014 AT THE BELASCO THEATRE

Get Hedwig and the Angry Inch Tickets

NEW YORK CITY
- Golden Globe and Drama Desk Award winner Michael C. Hall will star in HEDWIG AND THE ANGRY INCH, the Tony Award winning Best Musical Revival, starting Thursday, October 16 at the Belasco Theatre (111 West 44th Street). HEDWIG will mark Hall’s first musical theatre role in over a decade having previously made acclaimed runs in the Broadway productions ofCabaret and Chicago.

Michael C. Hall’s limited engagement in HEDWIG is through Sunday, January 4, 2015. Andrew Rannells, who is currently playing the role of Hedwig, will play the final performance of his limited engagement on Sunday, October 12.

HEDWIG AND THE ANGRY INCH, with book by John Cameron Mitchell and music and lyrics by Stephen Trask, directed by Michael Mayer, also stars Tony Award winner Lena Hall as Yitzhak. The production has received rave reviews and is winner of four Tony Awards and won Best Musical Revival by the Tony Awards, the Drama Desk Awards, Drama League Awards, and Outer Critics Circle Awards.

“Internationally ignored song stylist” Hedwig Robinson (Michael C. Hall) brings her fourth-wall-smashing rock and roll saga to New York to set the recordstraight about her life, her loves, and the botched operation that left her with that “angry inch.”

HEDWIG has inspired a generation of young theatre writers and audiences. This wickedly funny and heartbreaking show was called “the Best Rock Musical Ever” by Rolling Stone and “the most exciting rock score written for the theatre since, oh, ever,” by Time Magazine.

HEDWIG AND THE ANGRY INCH  was originally produced by David Binder off off Broadway at Westbeth and then, under the direction of Peter Askin, ran over two years at the Jane Street Theatre beginning in February 1998. The musical won the Outer Critics Circle Award for Best Off-Broadway Musical and both John Cameron Mitchell and Stephen Trask won Obies in 2001. It won a 1998 New York Magazine Award and Entertainment Weekly’s “Soundtrack of the Year” Award. Time Magazine named HEDWIG the Top Musical of 1998.

The film of HEDWIG AND THE ANGRY INCH, directed by John Cameron Mitchell, won the Audience Award and Best Director Awards at Sundance. Mitchell won the Best New Director from the National Board of Review, the Gotham Awards, and the LA Critics Society. Stage productions have played for many years in Japan and in 2008, Korea hosted a popular televised reality show about the search for a new star to play Hedwig.

The creative team for HEDWIG AND THE ANGRY INCH features Emmy Award nominee Spencer Liff (musical staging), Tony Award nominee and Drama Desk Award winner Julian Crouch(scenic design), Tony Award and two-time Oscar nominee Arianne Phillips (costume design), four-time Tony Award winner Kevin Adams (lighting design), Mike Potter (hair and makeup design), Tony Award nominee and platinum-selling record producer Tim O’Heir (sound design), Benjamin Pearcy for 59 Productions (projection design), John Bair/Phosphene(animation), James Calleri (casting), Tony and Grammy Award nominee Ethan Popp (music supervisor & music coordinator), Justin Craig (music director), Liz Caplan (vocal supervision),Stephen Gabis (dialect coach), and Johanna McKeon (associate director).

The members of “The Angry Inch,” Hedwig’s band, are music director Justin Craig (guitar and keyboards), Matt Duncan (bass), Tim Mislock (guitar), and Peter Yanowitz (drums).

David Binder, who first produced HEDWIG in 1997, is producing the musical on Broadway with Jayne Baron Sherman, Barbara Whitman, Latitude Link, Patrick Catullo, Raise The Roof,Paula Marie Black, Colin Callender, Ruth Hendel, Sharon Karmazin, Martian Entertainment, Stacey Mindich, Eric Schnall, and The Shubert Organization. 101 Productions, Ltd are the executive producers.

TICKETING INFORMATION
Tickets for HEDWIG AND THE ANGRY INCH are available now by calling 212-239-6200 or visiting Telecharge.com, or via the Belasco Theatre Box Office (111 West 44th Street). Ticket prices range from $142 – $47.

The Broadway production with current star Andrew Rannells

EstroGenius 2014 Theater Festival October 2nd through November 2nd in New York City

From a media release:

EstroGenius 2014
October 2nd through November 2nd

a Celebration of Womens' Voices in New York City
 

Join us October 2 – November 1 at Stage Left Studios and The 4th Street Theatre for the 15th anniversary of EstroGenius!

Tickets
•  Check the website for more details


NEW YORK CITY - Can you believe EstroGenius is 15? As you can imagine, plans are in the works for a suitably special festival this fall.

We are thrilled to announce the 15 short plays and 11 one woman warrior performances for Sola Voce for this season. The 15 plays will run in rep over three weeks starting October 16th through November 1st with our Estro Encores on November 2nd.

Sola Voce is our showcase of powerful solo performances by women. This program will run from October 2nd through October 11th. Please visit www.estrogenius.org/2014-sola-voce for the complete schedule.

Manhattan Theatre Source’s EstroGenius Festival, an annual celebration of female voices, is one of New York City’s largest women’s arts festivals.

Founded by Fiona Jones in 2000, the festival debuted with a program of 10 short plays and music. Since then, it has grown into a multi-week event including short plays, solo shows, teen performances, visual art, and dance. In past years, we’ve also had stand-up comedy, live music, fundraisers for African girls’ education, and full-day networking events with panels and workshops.

Almost completely volunteer run, the EstroGenius Festival has provided thousands of artists the chance to shine; showcased award-winning playwrights Sheila Callaghan, Quiara Alegria Hudes, T.D. Mitchell and Melissa Maxwell; presented Bessie Award-winning choreographers Marta Renzi and Jennifer Nugent; and provided scholarships for girls to attend school in Niger, ranked the poorest country in the world by the United Nations.

We are committed to providing opportunities to female artists – in a variety of disciplines – ranging from the emerging to the seasoned professional.

Many thanks!
Fondly, Jen, Melissa, Vinnie, Cheryl, Heidi, Kia, Sandy, Andi, Deb, Sarah and the rest of the Estro team.

Wednesday, September 10, 2014

Richard III, The Pleasures of Violence - A New Interpretation - September 10 to 28 2014 in Toronto

From a media release:

Kadozuke Kollektif Celebrates 10th Anniversary with
Richard III, The Pleasures of Violence
- a visually seductive new interpretation
directed by Tatiana Jennings -
September 10 to 28, 2014


Thursday-Sunday at 7:30pm
Zuke Studios, 1581 Dupont Street, Toronto ON, M6P 3S5
Tickets: $35


• Tickets available by calling 647-705-9117 or online at http://www.eventbee.com/v/kadozuke10/boxoffice

Toronto -
Celebrating its 10th anniversary, Toronto experimental theatre company Kadozuke Kollektif, in partnership with Bad New Days, presents the world premiere of Richard III, The Pleasures of Violence, Artistic Director Tatiana Jennings' provocative and innovative multimedia reimagining of the William Shakespeare classic. Richard III previews September 9, opens Wednesday September 10 and runs through to September 28 at Zuke Studios, the company's storefront home in the Junction.

Kadozuke Kollektif's most ambitious and complex work to date,Richard III, The Pleasures of Violence puts a humanistic spin on Shakespeare's political propaganda play. Intensely visual and highly choreographed, Jennings' Richard III explores the passion, violence and disaster that erupted in the family of three York brothers - Edward, Clarence and Richard - following the impulsive and secret love and marriage of Edward IV, King of England to Elizabeth Woodville.

Jennings transforms the work into a sensual exploration of the humanity of the characters, partly by making unseen events of the traditional story visible for the first time. While faithful to Shakespeare's original text, Jennings subverts its overtly propagandistic content through the unexpected and extremely detailed behaviour of the performers onstage. A more real, human picture of the characters - including that of Richard III himself - emerges.

Shakespeare's text is combined with 3D projection mapping, dynamic sets manipulated by actors and a poetic, physical style of acting that the company has developed over the last decade. The piece is performed by the ensemble with each of the performers  playing multiple parts, seamlessly switching genders and ages: Barbara Amponsah (Elizabeth), Lacey Creighton (Lady Anne), Scott Edwards (Duke of Buckingham), David Fish (King Edward IV), Sefton Jackson (Earl Rivers), Shawn Lall (Lord Hastings), Lee McDonald (King Richard III), Caitlin Morris-Cornfield (Margaret, and Stage Manager) and Tyler Winn (Duke of Clarence).

Jennings' fusion of striking organic stage sets with elaborate movement choreography and the detailed, almost filmic, acting style of the company creates a highly engaging audience experience. The long development periods, and unique style of collaboration, provides for an unmatched level of experimentation and accomplishment. See a teaser for the production here: http://zuke.ca/projects/richard-iii/

During the play's two-year development, the body of the real Richard III was discovered under a parking lot in Leicester, England; his identity confirmed by decoding the mitochondrial DNA of a Canadian man descended from the slain monarch's older sister. England's favourite villain king, the last of the Plantagenet dynasty, has become a more sympathetic figure as historians re-evaluate the role of this much maligned royal whose death marked the dawn of the modern era.

In addition, Kadozuke Kollektif has expanded its reach into the community to create a series of outdoor performance installations that will be presented in the ten days leading up to the event. Members of the community, and the public in general, are invited to work with Jennings and her artists in a workshop setting to present these theatrical interventions. To get involved, or for more information, contact Jenny-Anne McCowan: jenny.mccowan@gmail.com.

Tatiana Jennings is a multimedia visual artist, director and choreographer. Born and raised in Moscow, she studied theatre, film and dance. She appeared as a leading actor at the Meyerhold Centre for Experimental Theatre and her solo performance piece Madame Marguerite played to sold-out Moscow audiences for three years. In 1989 she received an award for the best performance at the International Moscow Festival of Theatre Arts. She has been teaching theatre at Humber College since 1999 where she created and directed more than a dozen original productions. Kadozuke Kollektif was founded in 2004 by Jennings and 11 Humber College graduates to develop large-scale, highly visual, original work.  http://www.zuke.ca

Bad New Days was created in 2008 by Adam Paolozza, a Dora award-winning performer, director, writer and producer. Since its inception, Bad New Days has created, developed and co-produced over 10 original productions, including Spent and The Double, exploring Paolozza's vision of a poetic theatre of gesture. www.badnewdays.com

"Kadozuke" literally means "players at the gate" and comes from an ancient Japanese tradition: since the Japanese performers were not allowed to enter the premises, they staged their art at the periphery, in-between two worlds. Drawing on this tradition, Kadozuke creates an artistic interlude, a place in between two worlds where one can pause to contemplate.

Kadozuke Kollektif in partnership with Bad New Days presents
Richard III, The Pleasures of Violence

A visually seductive new interpretation of a Shakespearean classic
Directed by Tatiana Jennings
Performed by Barbara Amponsah, Lacey Creighton, Scott Edwards, David Fish, Sefton Jackson, Shawn Lall,
Lee McDonald, Caitlin Morris-Cornfield, Tyler Winn
Set design by Vladimir Kovalchuk and Tatiana Jennings, Costume design byTatiana Jennings - Video projections design by Montgomery C Martin

Images - colour by Tatiana Jennings; b/w by Dmitri Levanov
- Shawn Lall, Caitlin Morris-Cornfield
- Caitlin Morris-Cornfield, Shawn Lall
- Foreground: David Fish



Recently Released: Billy Roberts and the Rough Riders - The Last of the Originals (Independent - August 19 2014)

Recently Released:
Billy Roberts and the Rough Riders
CD: The Last of the Originals
Independent - August 19, 2014

Buy the CD


The Last of the Originals is the first album from Australian country-rockers Billy Roberts and the Rough Riders.

Billy may be from Down Under but his music has a distinctly American flavour - something he's actually found a bit of an issue. In his native Australia, he's something of an anomaly; mainstream country music isn't the sensation it in North America. It means he's had trouble finding musicians to play with and ended up recording his debut albumm in a studio in Nashville with producer Billy Anderson at Cumberland Studios.

He lists - no surprise - American artists like Bruce Springsteen and the E Street Band, Pearl Jam, Neil Young and Crazy Horse as his inspirations, along with more modern acts like Arcade Fire and the Black Keys. Billy is a songwriter in the storytelling folk/country tradition with a post-modern kind of sensibility to the lyricss. An understated sense of humour shines through here and there in tales about real people at or near the bottom end of the scale.

The first track, with its refrain

Mrs. Jones your baby ain't a lady anymore...

has a nice, loose energy - an organic swing that's typical of the whole album. It's an approach that enlivens uncomplicated arrangements. There's an appealing, straight-ahead kind of energy to the arrangements with a solid drummer to add rhythmic interest.

In My Baby Gone Cold, he delivers the vocals with a kind of neo-country gravity - but you could get much more melodramatic with this kind of material. Stylistically the tracks display his range of influences from elements of traditional acoustic country roots to country rock and a contemporary pop edge.

Never Know has a nice sense of melancholy; a minor chord progression set against a swingy rhythm section that works really well. No More Mr Nice Guy is not an Alice Cooper cover; here it's an uptempo two-step with a nice fat harmonica line. Again his voice is perfect in tone but could snarl with just a little more emotion.

Some songs, like Not That Special with its singing slide guitar or the twangy old school I Was Young definitely fall into the country category but others could easily cross into contemporary rock or even alt rock territory. Davey Crocket and the Alamo has a trippy, psychadelic edge and the last track, Red Head Baby is a bluesy rocker.

There's nothing terribly new here but it's well done with a variety of modes and nice production quality that puts the emphasis on guitar.

Wednesday, August 27, 2014

Wondagurl and Rich Kidd's "Cooking Beats" demo Part of IMSTA FESTA Toronto Celebration of Music Technology September 6 2014


From a media release:

WONDAGURL AND RICH KIDD’S “COOKING BEATS” DEMONSTRATION ANNOUNCED FOR IMSTA FESTA TORONTO
IMSTA FESTA - A CELEBRATION OF MUSIC TECHNOLOGY
SEPTEMBER 6, 2014

• Admission is free with registration at: www.imsta.org

TORONTO:
Toronto’s finest beat-making duo, WondaGurl and Rich Kidd are announced as industry panelists for IMSTA FESTA Toronto on Saturday, September 6th, 2014. Hosted by The International Music Software Trade Association (IMSTA) and in partnership with the Society of Composers, Authors and Music Publishers of Canada (SOCAN), the annual celebration of music technology event will take place at the Ryerson’s Rogers Communications Centre.

Providing an environment where top Musical Instrument Technology companies can interact with music makers face-to-face, IMSTA presents five educational and interactive panels featuring music industry experts. As part of the IMSTA FESTA Professional Panel Series, WondaGurl and Rich Kidd will inspire, inform and entertain those attending with a bird’s eye view of the art of live beat making. “Cooking Beats” will demonstrate step-by-step how to construct professional beats from start to finish.

With the instant popularity of WondaGurl’s instrumental for Jay-Z’s song Crown, the 17 year-old Brampton producer has collaborated with hip-hop artists such as Travis Scott, Ryan Leslie and Rich Kidd. As a hip-hop artist, record producer and film/video director, Rich Kidd is known for the quality and depth he brings into his production. He was nominated for a Juno Award in 2012 for his debut album The Closers.

With more special high profile panelists to come, the IMSTA FESTA Professional Panel Series will provide tips and tricks on developing your business, self-promotion, as well as information about publishing and licensing within the music industry.

IMSTA FESTA Toronto will educate music software and hardware users on the value of purchasing the products they use rather than using pirated versions of products. The event helps promote their important message to ‘Buy the software you use.’
 
Admission is free with registration at: www.imsta.org

Monday Nights & Bloody Family at the Theatre Centre Toronto Through September 2014

From a media release:

The Theatre Centre announces upcoming programming at its live arts hub and incubator
6th Man Collective's Monday Nights - September 5 to 20, 2014
Philip McKee and Tanja Jacobs’ Bloody Family - September 26 to October 5 2014

• Check out both shows on their website

Toronto, ON –
To celebrate the first six months in their permanent home, The Theatre Centre today revealed 2014 programming highlights. Two productions developed in residency will animate the live arts hub and incubator: 6th Man Collective’s immersive basketball experience, Monday Nights, and Philip McKee and Tanja Jacobs’ interpretation of a classic Greek tragedy, Bloody Family.

Development of new artists and their work has always been an integral part of The Theatre Centre’s mandate, whether it’s through providing space, subsidy or mentorship within the cultural sector. Since opening their permanent home, The Theatre Centre is delighted to be able to highlight a selection of their residency partnerships through programming.

“We’re constantly working with artists at different points of project development in their relationship with The Theatre Centre,” said Franco Boni, general & artistic director. “By working with artists and groups in residency, we can provide them with funding and mentorship to nurture ideas still in infancy. Our new space means we’re able to further that support by giving them a stage for their work.”

Created and performed by 6th Man Collective, the interactive basketball performance, Monday Nights, tips off Sept. 5 and runs until Sept. 20. In the summer of 2008, five guys came to the basketball court at Queen’s Quay and Bathurst. Religiously, every Monday night, they stayed until the lights turned off.  Now, audiences will meet these guys on the court at The Theatre Centre, to join in their basketball bromance. With opportunities to join the team and show off your best slam dunk, or to just watch, everyone is welcome.

Next is Bloody Family (Sept. 26 to Oct. 5), a story of a family ripped apart by idealism. Philip McKee and Tanja Jacobs’ personal and volatile adaptation of the ancient Greek tragedy The Oresteia is an experimental work that contrasts compassion with necessity, and examines the birth and failure of justice. A father kills his daughter for honour, a wife kills her husband for revenge, and a son kills his mother for justice.

Full details about The Theatre Centre’s upcoming programming will be announced at a special opening night party for Monday Nights on Monday, Sept. 8 at 9:30 p.m. Tickets for Bloody Family and Monday Nights are on sale now at The Theatre Centre box office (1115 Queen St. W), online at www.theatrecentre.org, or by phone 416-538-0988.

Image: #TeamRed, Byron Abalos, takes on #TeamGreen, Jeff Yung, in Monday Nights

Facebook: The Theatre Centre
Twitter: @TheatreCentre
Twitter Hashtag: #MondayNights; #BloodyFamily

New Grunge: The Lost Poets' Insubordia (Independent, April 27, 2014)


Recently Released:
The Lost Poets
Insubordia (Independent, April 27, 2014)
David Rosengren (Vocals, guitar) and Petter Ossian Strömberg (drums, bass)

Buy it on iTunes


From Stockholm, Sweden, The Lost Poets released their debut EP earlier this year, featuring five tracks that establish them firmly in the New Grunge movement.

The lead single is Ode to K, and according to vocalist/guitarist David Rosengren, the song tells a story. "Ode to K" was one of those songs that just came out of nowhere. It's essentially about a man selling his soul to the devil and how his life was before and after he died. It's also an homage to the love of his life for trying to help him. It's all very suggestive and the inspiration, as always, comes from my own life in a twisted sort of way."

When I stand at the gates of hell
That's when I know what I was ready to sell




The five tracks offer more of the same - grungy atmospheric rock with a dystopian, down the rabbit hole view of the world. The lyrics are thoughtful and observant rather than bombastic and the Eddie Vedderesque vocals remain the focal point of all the tracks, fuzzy guitar licks nothwithstanding.

The songs are rhythmically interesting, some with the churning, hypnotic vibe reminiscent of North African and Middle Eastern trance. Overall, the Lost Poets' sound has a languid rather than frenetic kind of energy.

Die To Live slows down the pace further, featuring acoustic guitar and keyboard. The song is imbued with melancholy - then kicks into an electric and more rhythmic phase with distorted vocals and ends with a fuzzy snarl of guitar.

David's voice is interesting enough to carry the weight - expressive and strong. The title track is a stand out that begins with an insistent rhythm and subdued vocals.

Careful what you think of
Might just say it...
Insubordia


A jangling guitar and stronger vocal line gradually rise from a subdued state. It all works together for effect. The EP ends with Inside the Cage, an atmospheric rock spoken word track.