Musical – Richmond Mens Chorus http://richmondmenschorus.org/ Fri, 14 Jan 2022 21:48:19 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://richmondmenschorus.org/wp-content/uploads/2021/05/cropped-icon-32x32.png Musical – Richmond Mens Chorus http://richmondmenschorus.org/ 32 32 Ordway announces new vax policy as more venues cancel shows https://richmondmenschorus.org/2022/01/14/ordway-announces-new-vax-policy-as-more-venues-cancel-shows/ Fri, 14 Jan 2022 21:48:19 +0000 https://richmondmenschorus.org/2022/01/14/ordway-announces-new-vax-policy-as-more-venues-cancel-shows/

As canceled or postponed arts events pile up, the Ordway Center for the Performing Arts has announced stricter vaccination requirements.

Starting Feb. 1, the St. Paul venue will not only require vaccination (or a negative test result within 72 hours of the performance), but also proof of a booster. Masks remain mandatory and they cannot be fabric masks; theater now requires more omicron-resistant protection, such as N95 or KN95 masks. The policies apply to all Ordway, Saint Paul Chamber Orchestra, Minnesota Opera and Schubert Club performances on the site.

The variant continues to disrupt performing arts schedules. The touring production of “Come From Away,” which is currently playing at the Orpheum Theater in Minneapolis, has canceled two more performances — Friday night and Saturday afternoon — but intends to resume the 8 p.m. show on Saturday, having won some time to work new performers from Broadway, London and Toronto productions to the cast. The musical runs until January 23.

The Park Square Theater is postponing its revival of the musical drama “Mary and Rosetta,” after previously canceling some performances. Originally slated to debut on January 19, the drama about music trailblazer Sister Rosetta Tharpe is “on hold” in hopes of premiering later.

“We have heard of anxiety from our customers, as well as challenges in the rehearsal room due to COVID-19. As we prioritize the health and safety of our performers and audience, all we said to breathe and come back when we can,” executive director Mark Ferraro-Hauck said.

The Yellow Tree Theater pushes back “In the Next Room, or The Vibrator Play”. Slated to debut at the Osseo Theater on February 4, the comedy will now run from June 2-26.

Two events at the Landmark Center in St. Paul have been moved. The “Urban Expedition China” dance/culture program, originally scheduled for Sunday, will now take place on February 20. “Black Sea Odyssey,” featuring Ethnic Dance Theater and originally scheduled for February 20, will be a virtual event in March.

Among clubs in the Twin Cities, about one in five live music concerts scheduled for this weekend have been postponed or cancelled, mostly at the request of artists. Canceled shows include Samantha Fish at First Avenue on Saturday and Tina Schlieke at The Dakota on Saturday (which was replaced by Ginger Commodore’s tribute to Sidney Poitier the same night).

Other concerts canceled in the coming days include annual tributes to Johnny Cash and Dolly Parton at the Cabooze and Turf Club, respectively; rapper Sean Anonymous’ birthday party at 7th St. Entry; Best Coast’s tour date at Fine Line and Kiss the Tiger’s residency concert at Icehouse.

At the Crooners Supper Club in Fridley, three shows were canceled – Jennifer Grimm on Friday, Songs of Laurel Canyon and Lynne Rothrock on Saturday and Robert Robinson on Sunday. The site will be closed until February 3 for renovations.

Editors Chris Riemenschneider and Jon Bream contributed to this report.

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The late Harpdog Brown’s peers agree on his musical heritage https://richmondmenschorus.org/2022/01/13/the-late-harpdog-browns-peers-agree-on-his-musical-heritage/ Thu, 13 Jan 2022 02:39:13 +0000 https://richmondmenschorus.org/2022/01/13/the-late-harpdog-browns-peers-agree-on-his-musical-heritage/

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With the passing of Harpdog Brown, Canada loses one of its character bluesmen – a rowdy traditionalist deploying classic-electric Chicago blues, swirling New Orleans swing and hyper-dancing big band blues that lifted reliably dust the dance floor.

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Rarely seen without a harmonica, the Edmonton-born singer-songwriter, who recently moved home after living in Vancouver since 1987, died at home in his sleep on January 7 at the age of 59.

“Brave blues from the core, not the surface,” said Brown, who has shared the stage with many legends, including kd lang, whom he was looking for.

“Some of those things that were written in the past are still true today,” he told Roger Levesque of the Journal in 2017. “But you’ll never find me singing about picking cotton , because I never had to. I try to keep it in my own reality.

“I’m 55,” he said to Lévesque at the time, “and in the blues world, I’m a teenager. I have just begun.

His friends and peers in the vast blue-note world praise Brown as a man and a musician.

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“I was amazed to learn that my friend Harpdog Brown is gone,” veteran Mississippi bluesman Charlie Musselwhite told The Journal. “How can that be? He was so full of life. He always seemed more alive than the average person.

“Not only was he a good blues harmonica player, singer and performer, but he had a great sense of humor. Harpdog was one of the good guys.

“Another good man,” repeated Duke Robillard of Rhode Island. “I’ve always known him and his reputation as a great bluesman.”

Edmonton singer-songwriter Ben Sures has been playing guitar for Brown since the early ’90s and shares his impressions.

“Harpdog was very charismatic and an imposing presence. He was tall, tall and well dressed in a suit, his hair shiny and slicked back – he looked 60 to 30. He had a deep cartoonish voice, as Jackie Mason meets Rodney Dangerfield with a special pocket in his belt for its Zippo lighter. “

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“The way he appeared was exactly who he was,” says Holger Petersen of CKUA, who will be doing a special Natch ‘Blues episode dedicated to Brown, starting at 4 p.m. Saturday, including their last recorded interview in November.

Petersen has seen Brown play at least a dozen times, concluding, “I really put him in the real bluesman category.

“He lived it, 24 hours a day.

Harpdog Brown died at home on January 7.
Harpdog Brown died at home on January 7. Photo provided

On stage, Brown has also performed regularly with pianist Graham Guest and guitarist J. Arthur Edmonds. Sures says he was lucky to be there, up close, watching Brown evolve.

“I think some people shape their personalities from childhood, but Harpdog started later – he became Harpdog as an adult. Sometimes someone would call him Harp and he would say, ‘A harp is one thing, call me dog!’ “

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“He was inspired by all the greats like Sonny Boy Williamson, Little Walter Jacobs and the others. He even had them tattooed on his arms, ”says Sures. “He was a really good singer, earlier in his career he was kind of blood talk, which worked with his rich character voice.

“In the last 20 years or so he started to really sing and he had a knack for traditional melodic swing and blues melodies. “

Sures plans to raise a drink on his CD release show Elks Lounge in Red Deer on January 28, on what would have been Brown’s 60 e birthday.

Adopted into a musical family that included his guitarist mother, Brown first became addicted to the blues after seeing James Cotton perform at the SUB Theater and Dutch Mason perform at Jasper Avenue Lucifer’s nightclub in the late 1970s.

First opened for comedians and active on stage in the next 40 years – including at the Ambassador, Sidetrack Café, and Blues on Whyte countless times – Brown got his nickname at a 1989 gig in Kitsilano Beach after two members of the audience shouted “Harpdog!”

He eventually adopted it as his legal name after his marriage broke down.

The long-bearded singer’s debut album in 1990 was a cassette recording of a Sidetrack concert, which he followed by seven studio albums, including Home Is Where the Harp Is in 1995, which earned him an award nomination. Juno.

Notable recordings Naturally (2011) and What It Is (2014) followed, and he was named harmonica player of the year at the Maple Blues Awards between 2014 and 2016.

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We apologize, but this video failed to load.

“Every record got better,” said Peterson, saying Brown’s latest album, For Love & Money of 2019, was his best – the first one pressed on vinyl.

“It opened up a whole new world for him, working with Steve Dawson and a few inspired horn players from New Orleans. It’s a part of him that first came out, and I think he would have pursued it more.

Dawson, who produced the album, talks about Brown’s sheer artistic will.

“He was a lot more confident,” says Dawson, compared to when he played on the tour with him in the ’90s. “Knew exactly what he wanted, and in particular how to encourage what he wanted from the young horn players he had with him.

“He was very consistent and sang just as he sang each time – same with the harp.

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“If I pushed him to try and do something different, he would just stick to his guns and not do it,” Dawson laughs. “Stubborn, but confident. I learned something from this.

A great spokesperson for the blues, Brown also spoke for Edmonton, even when he lived on the coast.

“It’s one of the fastest growing cities for the blues these days, and I’m proud to be from Edmonton,” he told Levesque. “A lot of Albertans seem to poop in their hometowns, but it was a great place to grow up.”

Petersen says the Harpdog legacy is multi-faceted, starting with these Maple Blues Awards, insisting that “It’s a really big cachet, especially for someone from Edmonton. “

The longtime radio host remembers being with legendary DJ Dave “Daddy Cool” Booth at the Maple Awards the first time he saw Brown perform.

“He just said, ‘This guy is amazing, he’s one of the best people to do authentic old school blues,” ”Petersen recalls. “So he’s very popular in blues circles by people who are very popular.

“His legacy will be his music.

Finally, Musselwhite expresses what many are saying this week.

“Thanks for all the great times, Harpdog. I will definitely miss him.

fgriwkowsky@postmedia.com

@fisheyefoto

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‘Monarch’: 5 things to know about the musical drama on Fox https://richmondmenschorus.org/2022/01/11/monarch-5-things-to-know-about-the-musical-drama-on-fox/ Tue, 11 Jan 2022 06:56:00 +0000 https://richmondmenschorus.org/2022/01/11/monarch-5-things-to-know-about-the-musical-drama-on-fox/

Fox’s new drama ‘Monarch’ is one of the most publicized midseason additions to the television landscape. Despite being created by newcomer Melissa London Hilfers, “Monarch” features both the elite of Hollywood and country music.

“Monarch” is a musical drama about the Romans that spans several generations. Dottie and Albie Roman together built a country music empire. The roots of the dynasty, however, are not what they appear to be. Nicky Roman, Roman’s daughter, comes to defend the domination of the dynasty in country music while ensuring her own success. It features Susan Sarandon and Trace Adkins, as well as Anna Friel.

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Everything we know about ‘Monarch’ is included below.

When is ‘Monarch’ coming out

According to official sources, the show will air on Fox on January 30, 2022.

What ‘Monarch’ is about

The official synopsis on Fox says “MONARCH is an epic, multigenerational musical drama about America’s first country music family. In MONARCH, the Romans are passionate and extremely talented, but although their name is synonymous with honesty, the very foundation of This Family success is a lie. When dangerous truths resurface, the Romans’ reign as the country’s kingship is endangered. Nicky Roman, the brilliant and fierce heir to the crown, already battling an industry and a world stacked against her, will stop at nothing to protect her family’s legacy. It’s finally her turn. But is it too late? “

Who plays in the series?

Photo by Jason Kempin / Getty Images

Oscar winner Susan Sarandon has been cast for Monarch, Fox’s straight-series country music drama. Dottie will be played by Sarandon and Nicky will be played by Anna Friel (Pushing Daisies).
Sarandon has made appearances on several top TV shows, including “Search Party”, “Ray Donovan”, “Rick and Morty”, “30 Rock” and “Rescue Me”. screen. Friel is known for her work on shows such as “The Girlfriend Experience” and “American Odyssey”, in addition to “Pushing Daisies”. Other cast members are Trace Adkins, Iñigo Dominic Lazaro Pascual, and Joshua Sasse.

Showrunner

According to the official website, “Monarch is produced by FOX Entertainment. Screenwriter Melissa London Hilfers is a designer, screenwriter and executive producer. Michael Rauch (“Instinct”, “Royal Pains”) is executive producer and showrunner. Gail Berman and Hend Baghdady (The Jackal Group) and top music director Jason Owen (Sandbox Entertainment) are also executive producers. Jason Ensler (“The Passage”) will direct and serve as executive producer on the series premiere. Adam Anders will serve as executive music producer on ‘Monarch’. The series will contain original music and covers. “

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If you have an entertainment scoop or story for us, please contact us at (323) 421-7515 ]]> More music than music, GIRL FROM THE NORTH COUNTRY sets the music of Bob Dylan as the backdrop for Conor McPherson’s Bleak Depression Era Tale. https://richmondmenschorus.org/2022/01/09/more-music-than-music-girl-from-the-north-country-sets-the-music-of-bob-dylan-as-the-backdrop-for-conor-mcphersons-bleak-depression-era-tale/ Sun, 09 Jan 2022 08:41:01 +0000 https://richmondmenschorus.org/2022/01/09/more-music-than-music-girl-from-the-north-country-sets-the-music-of-bob-dylan-as-the-backdrop-for-conor-mcphersons-bleak-depression-era-tale/

Saturday January 8, 2022, 7:30 p.m., Theater Royal Sydney

The highly anticipated combination of writing and directing Conor McPherson with the music of Bob Dylan’s career, GIRL FROM THE NORTH COUNTRY arrives at the Theater Royal in Sydney. Playing more with music than the musical, this work transports audiences to life in the American Depression era with Dylan’s catalog used to echo emotion while not particularly using songs to drive the story.

GIRL FROM THE NORTH COUNTRY is the product of producers Tristan Baker and Charlie Parsons (Runaway Entertainment) who approached Bob Dylan with the idea of ​​getting approval to have a theatrical work created using Dylan’s music, and their Irish playwright Conor McPherson’s subsequent selection to create a work with the freedom to choose from Dylan’s entire catalog of works to mark the original story. The result is a story that takes audiences to a “Guest House” (think guesthouse-style long-term accommodation rather than a vacation spot) run by Nick Laine (Peter Kowitz), a male who struggles to hold everything together to support his wife Elizabeth. (Lisa McCune), a woman unable to help with house operations due to her advanced dementia, her son Gene (James Smith), an aspiring writer in his twenties with a drinking problem, and Marianne (Zahra Newman) , her five-month-old adoptive 19-year-old daughter who refuses to name the father of her baby. The guest house has had four long term tenants in the form of widow Mrs. Nielsen (Christina O’Neill) and the Burke family which consists of Frank (Greg Stone) and Laura (Helen Dallimore) and their son Elias (Blake Erickson), a man with the mental capacity of a child and a strength he doesn’t fully understand. Late one night at the end of November, two other travelers round out the occupants of the house in the form of the traveling Bible vendor, the Reverend Marlow (Grant Piro) and the mysterious young African American Joe Scott (Callum Francis), but even with all the beds in the occupied house, Nick still faces the prospect of the Bank closing the house. The story of the residents of the house is told by family physician Dr Walker (Terrance Crawford) as he watches Nick’s efforts to marry Marianne in an incredibly callous and inappropriate match with Mr. Perry (Peter Carroll) , put Gene with a job. , and chart a new life with Mrs. Nielsen even as his wife sits dazedly in the wing chair in the corner of the room.

Visual- assortment of chairs around the dining table. The costumes are reminiscent of the era, in a similar way, showing that the occupants of the house all once had money before the Great Depression swept the country. The simple rearrangement of the furniture on stage combines with the projected backgrounds that reinforce the different locations in the house, a bar where locals gather for music and dancing, and a more general inference of the location of the city. of Duluth Minnesota being located on the shores of Lake Superior.

Although the work is generally presented as a musical, it is more of a game with music as the selection of songs by Bob Dylan is not used to advance the story but rather to highlight the emotion of the work with a broad connection in a manner similar to an original soundtrack. to a movie lies below the drama. The songs are not integrated into the plot but rather delivered to cover physical movement performed without dialogue or to echo a scene that was played out with retro microphone stands often purchased on stage for musical numbers and ensemble seen as choristers around another microphone.

BWW REVIEW: More Music Than Music, GIRL FROM THE NORTH COUNTRY sets the music of Bob Dylan as the backdrop for Conor McPherson's Bleak Depression Era Tale.
Zahra Newman as Marianne (Photo: Daniel Boud)

Notable performances for musical numbers come from Callum Francis who gives a captivating interpretation of hurricane to reinforce Joe’s story as a wrongly convicted African-American boxer, Zahara Newman’s reflection Close connection with my heart and the mighty one of Blake Erickson Duquesne whistle where the public is finally regaled with his talents. Helen Dallimore, who also accompanies most musical numbers on drums, delivers a fabulous solo in darling like you which is imbued with emotion and an understanding of the lyrics, reinforcing the fact that she was sadly underused in this cast and perhaps gave the role of Elizabeth better depth, connection and honesty in both the Elizabeth’s dramatic expression and key solo Like a rolling stone than the stilted expression that showed more direction than intuition seen on opening night.

BWW REVIEW: More Music Than Music, GIRL FROM THE NORTH COUNTRY sets the music of Bob Dylan as the backdrop for Conor McPherson's Bleak Depression Era Tale.
Zahra Newman as Marianne and Callum Francis as Joe (Photo: Daniel Boud)

In addition to Dallimore, the strongest dramatic performances came from Newman, Francis and Erickson with Peter Carroll as septuagenarian Mr. Perry and Greg Stone as Mr. Burke all of whom achieved a sincerity of expression that seemed innate. and unforced even in the smallest of appearances, reinforced by accents and credible speech patterns. It is recognized that McPherson painted the majority of the characters quite finely in terms of what audiences manage to learn about them, but these performers have managed to express that they have developed a backstory for their characters, so that their physical reactions, interactions and dialogues are so informed that the audience wants to know more about their story, which is in contrast to some of the more important roles that fail to connect with the audience because the performer was unsuccessful. to connect with his character with the required degree of sincerity or understanding.

BWW REVIEW: More Music Than Music, GIRL FROM THE NORTH COUNTRY sets the music of Bob Dylan as the backdrop for Conor McPherson's Bleak Depression Era Tale.
Blake Erickson as Elias (Photo: Daniel Boud)

Unlike many other musicals, GIRL FROM THE NORTH COUNTRY usually doesn’t have a nice happy ending and is a tough take on life in 1930s America in a similar vein to plays by Arthur Miller and Eugene. O’Neill. What at first glance appears to be the main characters are not sympathetic other than the adopted daughter, a stranger as an African American “child” in a white family, which makes for an unusual job as audiences can find more sympathy for Marianne, Joe and the Burke family than anyone else. This is more of a collection of wonderfully performed Bob Dylan songs around a story that feels like you’ve been pitched in but not quite appropriate, so come on for the music and set design more than any other aspect of the job.

https://www.northcountry.com.au/

This production is scheduled to tour Adelaide (March 25, 2022) and Melbourne (April 29, 2022) after the Sydney season.

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Hi-Liners Musical Theater’s “High School Musical, JR” opens TONIGHT https://richmondmenschorus.org/2022/01/07/hi-liners-musical-theaters-high-school-musical-jr-opens-tonight/ Fri, 07 Jan 2022 18:19:56 +0000 https://richmondmenschorus.org/2022/01/07/hi-liners-musical-theaters-high-school-musical-jr-opens-tonight/

New Year’s ‘Bop to the Top’ with Hi-Liners Musical Theater (HMT) as they present “High School Musical, JR” live on stage at Glendale Lutheran School, opening TONIGHT – Friday January 7th and ending continues through January 15, 2022.

The one-act adaptation of the hugely popular 2006 Disney film is directed by Frankie Curry-Edwards and choreographed by HMT alumni Krystle Alan. The show will be performed by a cast of 29 members aged 10 to 17, all from various communities in South King County.

“High School Musical, Jr.” will take place two weekends, January 7-9 and January 14-15, Friday to Saturday at 7 p.m. and Sunday at 3 p.m. The shows are held at the Glendale Lutheran School at 13455 2nd Ave SW, in Burien.

Tickets are $ 15 and available now on www.hi-liners.org.

Covid-19 Safety Information
Guests 12 years of age and older will be required to provide proof of vaccination or a negative COVID-19 test taken no later than 72 hours prior to entry. Masks will be compulsory for all spectators aged 5 and over, regardless of their vaccination status.

The Hi-Liners Musical Theater is a non-profit organization established in 1966 that offers musical theater productions and performing arts classes, workshops and camps for students ages 3 and up in communities across the South King County.

For more information visit www.hi-liners.org.

Glendale Lutheran School is located at 13455 2nd Ave SW:

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Spring 2022 Theater in Central Georgia preview: musical, playlist https://richmondmenschorus.org/2022/01/05/spring-2022-theater-in-central-georgia-preview-musical-playlist/ Wed, 05 Jan 2022 15:24:00 +0000 https://richmondmenschorus.org/2022/01/05/spring-2022-theater-in-central-georgia-preview-musical-playlist/

MACON, Georgia – 2022 has just started, but the 2021-2022 theater season in Central Georgia is still going on. Here is a list of all the plays and musicals happening in several theaters in Central Georgia this year.

This play is based on a spy detective novel that was later turned into a Hitchcock masterpiece. It’s a comedy that will feature just four actors playing at least 150 different characters throughout the production.

“There’s a very goofy, silly sense of humor. Kind of like the Monty Python skits or the Saturday Night Live style, ”said production manager JP Haynie.

Haynie compared this show to “The Complete Works of Shakespeare (Abridged)” because it also has a small cast of characters playing many roles.

“Anyone looking for a night of escape, looking to get away from 9-5, get away from everything that is going on in the world and know they are just going to sit and laugh and have a good time. good time. I think that’s the perfect thing about this show, ”said Haynie.

  • Little shop of horrors: 25 March – 3 April

This production is based on a classic musical of the same name. Little Shop of Horrors follows the adventures of Seymour, a nerdy flower seller. When the flower shop is threatened with closure, Seymour exhibits a mysterious plant which he later discovers has developed a taste for blood.

Haynie says this show is one of her favorites.

“There is a lot of heart to do. It’s a little scary, it’s a little sci-fi, but it’s definitely one of those cult classic musicals that I love, “he said.

  • Anne of the Green Gables: May 20-29

This production is currently listed as a mystery show by Macon Little Theater, but they initially left 13WMAZ on the surprise. Anne of Green Gables is based on classic children’s tales, where orphan Anne Shirley is adopted from Nova Scotia by Marilla and Matthew Cuthbert. The production follows Anne throughout her life as she adapts to new circumstances and lifestyles.

“It’s going to be an epic and moving adventure. Great for younger audiences and once again that powerful young girl who’s leading this story, so we’re really excited about it, ”said Haynie.

  • Legally Blonde: The Musical: July 15-24

For the last production of the 2021-2022 season, Macon Little Theater will offer Legally Blonde: The Musical. This story of empowerment and self-esteem follows Elle Woods and her attempt to change the face of Harvard Law. Based on the classic movie, Legally Blonde is a fun, light-hearted comedy that will make you want to curl up and crack!

Perry Players Community Theater:

  • All brewed: February 10-20

This jukebox musical features a roustabout guitar player named Chad who has just been released from prison. The next community he comes to has strict enforcement of the Mamie Eisenhower Decency Act, which prohibits necks in public, loud music, and tight pants. In town, Chad brings the town back to life through his music and dance movements. Loosely inspired by Shakespeare Twelfth Night, this musical is about the tunes of Elvis Presley and is sure to get you in the swing.

“I think only the actors are very excited to present this show and I think Perry is going to be amazed at what they actually see,” said show director Kenny Jones.

Warner Robins Little Theater:

  • The game that goes wrong: 11-13, 18-20, 25-26 Feb.

After benefiting from a sudden and important legacy, the inept and accident-prone Cornley Polytechnic Drama Society embarked on the production of an ambitious 1920s detective story. They are delighted that neither the casting issues nor the problems techniques do not bother them currently. However, a hilarious disaster ensues and the cast begins to crack under the pressure, but can they get production back on track before the final curtain falls?

Governing Council Senior Vice Chairman Bill Felton said the board chose the show because the world is in desperate need of comedy these days.

“Everyone was hoping that 2022 would be a new era of comfort, peace, joy and happiness, but you know what? We have to create our own happiness,” he said.

  • Four old Broads: May 13-15, 20-22, 27-28

This show is a comedy about three women who are each other’s best friends and end up welcoming a fourth woman into their group. The story centers on their friendship as they uncover the secrets of where they live.

Felton says it’s a hysterical play that reminds him of the Golden Girls.

  • I don’t behave badly: 20-23 Jan.

The inimitable Thomas “Fats” Waller gained international fame during the heyday of the Cotton Club and this new swinging and catchy music. While not quite a biography, I don’t behave badly evokes the delightful humor and infectious energy of this American original as a versatile cast struts, struts and sings the songs he made famous in a career that spanned upscale clubs to downtown town of Tin Pan Alley. The intoxicating music of Fats Waller will delight and energize audiences while providing excellent insight into a vibrant period in American history and music.

Evan Goldman is torn from his busy preteen New York life and finds himself in a sleepy Indiana town after his parents divorce. Surrounded by a panel of simple-minded college students, he needs to establish his place in the popular hierarchy. Can he sit on a comfortable link in the food chain by throwing an unforgettable bar mitzvah … or will he hang in the end with the outcasts?!?

  • Enchanted April: March 18-27

From the novel by Elizabeth von Arnim. Feeling lost in the shadows of marriage and forgotten in the stampede of post-war society of the 1920s, two London housewives pool their savings to rent a villa in Italy for a women-only vacation, recruiting reluctantly a pair of tough upper class women to share the cost and experience. Together under the Mediterranean sun, the four women face off – then begin to bond and blossom – until the men upset the balance again.

  • The room mate: April 7-10

Sharon, in her 50s, recently divorced and needs a roommate to share her home in Iowa. Robyn, also in her 50s, needs a place to hide and a chance to start over. But as Sharon begins to uncover Robyn’s secrets, they encourage her own deep desire to completely transform her life. A dark comedy about what it takes to turn your life around – and what happens when the wheels come off.

  • The color purple the musical: May 13-22

The color purple is an inspiring family saga that tells the unforgettable story of a woman who, through love, finds the strength to triumph over adversity and discover her unique voice in the world. This musical adaptation of Alice Walker’s Pulitzer Prize-winning novel (and popular 1985 Steven Spielberg film) highlights Celie, an oppressed young woman whose personal awakening over 40 years forms the arc of this story. epic. With a joyful score of jazz, ragtime, gospel, African music and blues, The color purple is a story of hope, a testament to the healing power of love and a celebration of life.

This metaphysical portrait of Henry VIII and the six women of his life contrasts this king, the quintessential Renaissance man, with modern liberal thought and concludes that humanism died in the twentieth century. Henry remains the same everywhere, but women progress in their dress into modern times, showing their knowledge of the lasting effects of Henry’s thoughts.

  • The SpongeBob Musical: July 8-23

The stakes are higher than ever in this vibrant musical, as SpongeBob SquarePants and all of Bikini Bottoms face utter annihilation in their underwater world. Chaos erupts. Lives are on the line. And just when all hope seems lost, a most unexpected hero rises and takes center stage. The power of optimism can truly save the world!

Perry’s Muse Theater reopens after renovations

“Just to brighten up the space people live in”: the 567 Center is organizing an artist showcase in downtown Macon

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Firehouse Theater announces world premiere of GABRIEL musical https://richmondmenschorus.org/2022/01/03/firehouse-theater-announces-world-premiere-of-gabriel-musical/ Mon, 03 Jan 2022 17:00:02 +0000 https://richmondmenschorus.org/2022/01/03/firehouse-theater-announces-world-premiere-of-gabriel-musical/

Firehouse Theater has announced the dates, cast, and creative team for its debut musical GABRIEL, about the revolutionary leader of a very significant slave rebellion that history has largely ignored. GABRIEL is written by Jerold Solomon, Foster Solomon and Ron Klipp, with music and lyrics by Ron Klipp. Production will take place at Firehouse from January 27 to February 26, 2022.

GABRIEL is based on the true and little-known historical events of the summer of 1800 when a scholar blacksmith and slave on the Prosser Plantation in Richmond, Virginia, staged a statewide rebellion to end the ‘slavery.

Eyewitness accounts estimated Gabriel’s rebel strength at 500 to 1,000 men. On the day of the uprising, a severe thunderstorm flooded the area, destroying the rebels’ lines of communication and thwarting the diversionary fires that were a key part of their plan. Gabriel reluctantly decided to postpone the rebellion. Before he could regroup, he was captured, tried and hanged publicly along with 25 other conspirators. Virginia Governor James Monroe and the General Assembly quickly enacted a series of rigid laws intended to quell future uprisings and to further control and restrict the lives of free and enslaved blacks. Douglas Egerton, historian and author of Gabriel’s Rebellion, wrote: “Most of his contemporaries, black and white alike, believed his plan had a good chance of succeeding. If he had, he could not only have changed the course of the American race. relations but also the course of American political history.

The GABRIEL ensemble features Jerold Solomon as the title role of Gabriel (and co-librettist), Alvan Bolling II, Keydron Dunn, J. Ron Fleming Jr., Khadijah Franks, Sydnee Graves, Rachel Marrs, Michael McMullen, Eddie Webster and Joel White. GABRIEL’s musicians are Bentley Cobb (drums), Ed Drake (guitar), Leilani Fenick (piano), Ned Haskins (cello), Jake Millhouse (bass) and Marissa Resmini (violin). GABRIEL’s creative team is made up of Foster Solomon (director and co-librettist), Billy Dye (musical director), Leilani Fenick (assistant musical director), Leslie Owens-Harrington (choreographer), Dasia Gregg (stage designer), Andrew Bonniwell (lighting designer), Anna Bialkowski (costume designer), Jay Basu (costume assistant), Morgan Lea Palmer (stage manager), Dennis Bowe (assistant stage manager) and Kennedy Shahan (assistant stage manager).

GABRIEL tickets are available at https://gabrielrva.eventbrite.com. Information on Firehouse is available at https://www.firehousetheatre.org

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Hershey Felder’s latest musical film examines little-known librettist’s relationship with Mozart https://richmondmenschorus.org/2022/01/01/hershey-felders-latest-musical-film-examines-little-known-librettists-relationship-with-mozart/ Sat, 01 Jan 2022 20:58:07 +0000 https://richmondmenschorus.org/2022/01/01/hershey-felders-latest-musical-film-examines-little-known-librettists-relationship-with-mozart/

Most opera and classical music lovers know the history of Wolfgang Amadeus Mozart and his operas. But few people know about the colorful life of Lorenzo Da Ponte, who was the librettist of three of the composer’s best-known operas, “Les Noces de Figaro”, “Don Giovanni” and Cosi fan tutte.

Da Ponte’s unusual life – and his prospect of working alongside the Austrian composer – is the subject of “Mozart and Figaro in Vienna”. This is the latest musical film written and directed by and starring playwright-pianist Hershey Felder. Airing at 5 p.m. on January 9, the film is co-presented by the San Diego Repertory Theater and nearly two dozen other US theaters. Felder lives and works in Florence, Italy, and all scenes in the film were filmed in the Tuscan city as part of his “Live from Florence” film series.

Hershey Felder, seen here as librettist Lorenzo Da Ponte in his later years, shooting a scene for the new musical film ‘Mozart and Figaro in Vienna’.

(Hershey Felder)

Da Ponte was born Jewish but his family secretly changed their name and converted to Catholicism. During his long career he served as a priest, was convicted of running a brothel in Venice and banished, went bankrupt and fled to the United States, where he founded the first American opera house in New York.

The film will feature an international cast of opera singers, including American baritones Nathan Gunn and Timothy Renner and Russian soprano Ekaterina Siurina as well as members of the Italian Maggio Musicale Orchestra. Felder plays Da Ponte, both as a young court musician in Vienna, and in his later years in New York City, where he became a US citizen and died in 1838. Felder answered a few questions about his latest project by e-mail last week.

Question: Where did you get the idea for this piece and its focus on Da Ponte?

A: “I have always been fascinated by Da Ponte. He worked with Mozart, no doubt giving Mozart the material to become eternal in the world of opera. I loved the way Da Ponte talked about Mozart, and I’m quite moved by the way we refer to “Mozart operas”, but not to Mozart and Da Ponte operas. Da Ponte was also a real character, and you could do many episodes in her life. The story is about being in the presence of a genius and contributing to that genius, and perhaps not being recognized for doing so.

Question: Where did you film “Mozart and Figaro in Vienna”?

A: “Unfortunately, Vienna was completely blocked off, so we were able to film in the magnificent Palazzo Gianfigliazzi Bonaparte in central Florence, which has exactly the interior that a late 18th century Viennese palace, the Emperor’s Palace, would have. The palace itself is historic and the decor dates exactly from the period Mozart is said to have visited and performed. It is a beautiful palace which still has the decor, now fully restored to its original glory.

Question: What would most theatergoers be surprised to learn about Mozart that only composers and pianists like you know?

A: “While he was definitely scatological in his letter writing, he was much more serious and calm in his work and his relationships. The other thing is that audiences might be interested in what it’s like to be surrounded by genius, as music allows us, but unlike Antonio Salieri who was portrayed in the movie “Amadeus” as an enemy jealous capable (perhaps) of murder. … Very dramatic and engaging, but not historically grounded. I love the movie and I love the drama, but I also think there’s a place to tell a human story that could be a little closer to what we think happened.

Question: What’s new in your “Live From Florence” film series and when do you plan to return to live performances in the US?

A: “We are expanding with audiences and are interested in word of mouth. Slowly the series is making a living and theaters continue to share with their audiences. Theaters have a big challenge this year as this strange virus transforms and challenges theater makers. I also hope to be back in a live theater at some point when the going is safe, but at the moment it’s hard to know, and of course the live performance requires stability for both the public and artists, we must therefore hope for it and ensure its possibility. “

“Mozart and Figaro in Vienna”

Diffusion: 5 p.m. Sunday January 9

Tickets: $ 55

In line: hersheyfelder.net

Kragen written in theater for the San Diego Union-Tribune. Email him at pam.kragen@sduniontribune.com.

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OMG the musical: highlighting inequalities, under-representation of women in leadership https://richmondmenschorus.org/2021/12/31/omg-the-musical-highlighting-inequalities-under-representation-of-women-in-leadership/ Fri, 31 Dec 2021 00:42:35 +0000 https://richmondmenschorus.org/2021/12/31/omg-the-musical-highlighting-inequalities-under-representation-of-women-in-leadership/

Yinka Olatunbosun

The title, “OMG the Musical” would spark the image of a light romantic comedy or coming of age story at best. The show, which was supported by the MTN Foundation, was staged at Shell Hall, MUSON Center which carried a bright new look with enlarged photos of the cast and MTN themed set.

The musical is woven into the story of Gafuma, a capable and ambitious woman who works in a paramilitary organization called the OMG – One Movement Group.

Gafuma is both qualified and eager to become the General Commander of the OMG. She is keen to succeed the current commander-in-chief. However, Gafuma is ignored and a man – who falls far short of her in terms of qualifications and skills – is appointed commander-in-chief.

Disappointed, Gafuma confronts the former commanding general over his decision. In a very typical misogynistic way, he urges him to be content to be the second.

Invariably, OMG actually means “only men rule”. Gafuma accepts this for a while, but her determination to fight for the job is rekindled after traveling through the past and meeting phenomenal women from Nigerian history who are known for their tough stance against the oppression of women – Olufunmilayo Ransome Kuti, Margaret Ekpo and Gambo Sawaba (OMG).

It was interesting to see how the themes of gender inequality and the under-representation of women in the workplace and in the political space are linked in the play.

This is a long-standing problem that in many cases cannot be attributed to the incompetence of women but to the unwritten rules of society that leadership positions are predominantly male.

According to an article published by UN Women ahead of the 2019 national elections, Nigeria has one of the lowest female representation rates in the legislature in Africa. In global rankings, Nigeria ranks 181st out of 193 countries with a low representation of women of 3.8% at federal and state levels and only 16.2% in nomination positions to the Federal Executive Council of Nigeria, although ‘it constitutes nearly 50% of the population. .

While some argue that progress has been made recently through the introduction of fair policies requiring a quota for women’s representation in politics and the workplace, women are still generally either completely ignored, named as figureheads or like Gafuma, forced to content themselves with supporting roles.

This is the best of tokenism, which gives an illusion of progress without addressing the cultural, systemic and societal issues that underlie the repression of women. OMG the Musical does little to tackle the root cause of the problem but encourages women to go ahead and “take up space” despite it. It does so by alluding to the stories of female emancipation champions.

Even if the principle of equality fails, the social and economic benefits of increased participation and representation of women in positions of work and political leadership make it an absolute necessity.

Nigeria’s gross domestic product (GDP) could grow 23 percent – or $ 229 billion – by 2025 if women participated in the economy to the same extent as men, according to a McKinsey report. Indeed, the future of the Nigerian economy lies in large part in harnessing the untapped potential of women’s human resources.

Producer Ayo Ajayi spoke about the challenges his production team faced and MTN’s role in helping to overcome them, Ajayi said, “The process of directing this musical has been very difficult. The problem we have in this sector is finance …

“This production actually brought together nearly 100 young people from different fields – acting, dance, theater, lighting, design, costume, among others. As such, without proper funding, such things will not happen. That’s why we really appreciate MTN for their study of this industry and they do it on a regular basis. Without organizations like MTN, this would not have happened.

MTN Foundation Executive Secretary Odunayo Sanya expressed MTN’s support for important stories like OMG the Musical when she said, “At MTN Foundation, we are committed to promoting stories that can positively shape society. .

“We believe that stories with messages that advance efforts to create a more equal and safer world for all women are very important because beyond entertaining the audience, they spark conversations about this very important issue.”

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RED MILL! THE MUSICAL Cancels Tonight’s Performance Due to Non-COVID-Related Illness at Company https://richmondmenschorus.org/2021/12/27/red-mill-the-musical-cancels-tonights-performance-due-to-non-covid-related-illness-at-company/ Mon, 27 Dec 2021 18:47:23 +0000 https://richmondmenschorus.org/2021/12/27/red-mill-the-musical-cancels-tonights-performance-due-to-non-covid-related-illness-at-company/

Red Mill! The musical has canceled tonight’s performance (Monday, December 27 at 7 p.m.) due to a non-COVID-related illness at the company. Refunds will be available to all ticket holders for tonight’s show through the original point of sale.

See the tweet below:

Enter a world of splendor and romance, breathtaking excess, glitter, grandeur and glory! A world where bohemians and aristocrats meet and revel in an electrifying enchantment. Sauté the champagne and get ready for the spectacular spectacular … Welcome to the Moulin Rouge! Musical comedy.

Baz Luhrmann’s iconic film comes to life on stage, remixed in a new musical mash-up extravaganza. Red Mill! The musical is a theatrical celebration of Truth, Beauty, Freedom and – above all – Love. Red Mill! The musical is more than a musical; It is a state of mind.

Like in the movie, Moulin Rouge! The musical celebrates over 160 years of music – from Offenbach to Lady Gaga. The on-stage musical features many iconic songs from the film and also includes recent hits released since the film premiered 20 years ago.

Red Mill! The musical is produced by Carmen Pavlovic and Gerry Ryan OAM for Global Creatures and Bill Damaschke. General management is provided by Foresight Theatrical.

Released by 20th Century Fox, Moulin Rouge by Baz Luhrmann! premiered at the 2001 Cannes Film Festival. At the 74th Academy Awards, the film was nominated for eight Oscars, including Best Picture, and won two.


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