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by Geoffrey Paddy Johnson on August 20, 2011
It’s pretty clever when a theatrical production adopts the stance that what it is about to present you with is nothing more than offensive, odious rubbish. And when it does so persistently, warning you at each interval that things are only going to get worse, more unbearable, it seems cleverer, because you have no one to blame but yourself for hanging around. And when each performance or act hones so close to the edge of becoming merely cacophonous insult, while convincing you that the method in this apparent chaos is quite sound, well, that makes it even more clever. In fact, everything about Inverse Theater‘s Smoke the New Cigarette by Kirk Wood Bromley at the Bowery Poetry Club is exceptionally clever; so clever it hurts.
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by Karen Tortora-Lee on August 12, 2011
I like nothing better than being naughty at the Opera. Neophytes might consider this akin to making out in the last pew of church but, actually, it’s not. I mean, really. Generally, no matter which opera you’re attending there’s all this drama unfolding in front of you … all this intense emotion, this deep passion, this hear break, this “I WILL NEVER BE THE SAME AGAIN” melodrama. How could it not inspire you to get a little frisky during intermission?
Well, okay, usually it’s kinda impossible to get frisky, but a gal can dream. But wait – hold the phone. What’s this? Morningside Opera is actually encouraging frisky behavior with their latest opera, The Judgment of Paris. Just look at that poster! It’s hotter than a Russ Meyer film. I, of course, will be there. Let’s not forget these are the folks who supplied the fabulous burlesque performer Medianoche to do a strip tease during their Diva Search Karaoke – so you know they’re serious when it comes to sizzle. I chatted with Amber Youell who is a performing in Judgment of Paris, while also serving on Moringside Opera’s board of directors. Listen as she tells me how they intend to push the boundaries and seduce their audience loud and clear. Continue Reading…
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by Karen Tortora-Lee on July 24, 2011
All I can ever be to you,
Is a darkness that we knew, And this regret I’ve grown accustom to.
– “Tears Dry On Their Own” / Amy Winehouse
There’s always a little bit of “what if” and “why didn’t someone” and “stop demonizing / vilifying / glorifying them now just because they’re dead” that goes on right after a controversial celebrity dies suddenly (although never quite unexpectedly). And today is no different, as I watch my friends debate Amy Winehouse some saying ”What a tragedy” and others saying “I’m surprised she lasted this long”. Meanwhile, the ones who like to hear themselves talk, are gratuitously pointing out that she died as she lived and had no one to blame but herself. Yes. We’re all aware of who Amy Winehouse was publicly. The talent. The trainwreck. And ultimately, the tragedy.
I’m not really here to ruminate on her death. I’m just here to memorialize someone who broke my heart.
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by Karen Tortora-Lee on April 2, 2011
On the last day of March Women’s History Month came to a close but today we have one final curtain call – with two amazing women from the world of opera: Brooke Bryant and Minou Arjomand.
Yes, March is officially over. But, like I said in the title, it’s over when *I* say it’s over … and I say it’s over when the Phat Ladies sing. (Yeah, yeah. I know. No one really uses “Phat” any more. But in this case it was really funny).
I’m fortunate that, in my business (the business of show) I don’t just interact, experience and enjoy a variety of talented people from a range of genres, but my virtual cup runneth over within each of those categories. Take opera for instance. I’ve mentioned often enough that I’ve been a dedicated devotee since my early childhood but I’m thrilled that now, in my role as editor and founder of The Happiest Medium I have been able to truly know so many talent people.
Earlier in this series I showcased Brett Umlauf who is one third of the amazing trio Charites. Today, soprano Brooke Bryant tells us more about this all female group; specifically what their challenges are and who inspires them.
Earlier Brett also mentioned a recent production of Morningside Opera’s Handel pastiche ATRA: Ossia, L’amore Ricordato which was cast “as a lesbian love triangle, the powerful castrato role being sung by a woman and *played* as a woman, i.e., not dressed in pants and a painted on moustache. The director, Minou Arjomand, will be telling you more about that process hopefully very soon.” Well, we’re grateful that “very soon” is now … Minou will be speaking with us from a director’s perspective about how she is reinventing the stereotypical “bland” women’s roles.
And now, for our grand finale – take it away, ladies! Continue Reading…
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by Karen Tortora-Lee on March 24, 2011
These women of the arts hail from different disciplines, but they all have an indomitable spirit and a luminescent spark that makes them amazing human beings who are out there every day, doing amazing work.
Today we continue our series with Brett Umlauf.
The first time I saw Brett she was decked out in a huge red velvet ball gown, had a powdery white wig upon which a black top hat was perched and she was singing along with two other identically dressed women. Together they were Charites, and they were singing everything from opera to standards to Lady Gaga for Austin McCormick’s take on fairy tales – Le Cirque Féerique. I found them utterly captivating, versatile and charming so when it came time to have my one year anniversary party I definitely knew I wanted them to perform, and I was thrilled when they accepted. Soon enough Brett and I kept in touch through various other things she was involved with, most notably the Diva Search produced by Morningside Opera.
As a lifelong devoted fan of Opera with season tickets to the Met, I’m thrilled that I now have a strong connection to the next generation of Opera via the lovely and talented Brett Umlauf. The more I get to know her, the more I’m continually drawn to her thoughtfulness, her dedication to her craft, and her supreme talent - the voice that floats so effortlessly from her tiny frame and fills a room with the most glorious, lilting, soaring notes that leave you astonished. Ahh, if only Brett could sing her answers for us …
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by Karen Tortora-Lee on March 23, 2011
These women of the arts hail from different disciplines, but they all have an indomitable spirit and a luminescent spark that makes them amazing human beings who are out there every day, doing amazing work.
Today we continue our series with Franca Vercelloni.
The first time I saw Franca she was on a stage and I was at a table in the audience, scribbling notes about her Fringe Show Classically Trained, Practially Broke. A lot of the notes which never made it into the review were things like “oh my god … me too” because in a lot of ways her story was my story. But, really, Franca Vercelloni’s story is uniquely her own.
First of all, it’s impossible NOT to fall in love with Franca as she takes to the stage; she’s astonishingly gifted as a pianist, has a sparkle that starts at her eyes but soon has hit every member of the audience, and has the beauty and brains to deliver humorous monologues that keep you in the palm of her hand.
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by Karen Tortora-Lee on March 22, 2011
In early February I did a mini-interview with Eric Sanders knowing that I’d soon have the opportunity to have a much longer conversation with him and his collaborator, Dave Nuss. Together they have created Original Innocence – The Rock Opera and I’m already fascinated by what I’ve seen. This Friday, March 25th I’ll be heading over to ISSUE PROJECT ROOM (At the Old American Can Factory) 232 3rd Street, 3rd Floor Brooklyn, NY 11215 [Telephone: 718-330-0313] to see a workshopped production. There are two shows that night – one at eight and one at ten. I think you should come too.
I always love chatting with Eric Sanders, he’s my favorite combination of brilliant and humble. Not to mention amazingly talented. Now, meeting Dave for the first time I was equally excited; together these guys are an interviewer’s dream. Read on to find out the random thing that brought these two talented men together, find out why they think it’s so important that our culture has a creation myth they can finally get behind, and let them explain why they cast Satan as a woman.
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by Stephen Tortora-Lee on February 27, 2011
According to The Bitter Poet (real name, Kevin Draine) when the audience first meets him, he makes it clear that this is no “show”, and that he has no “narrative”. He has no pretenses, just poetry. He also has a ruffled red shirt as well as a beautiful and rich perspective and the “luck” to “live in interesting times”. He warmly invites us into his life for this hour to hear of everything from a purging of crazy self-help books to a quest to woo many unavailable women who just pulled his heart-strings the wrong way.
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by Karen Tortora-Lee on February 9, 2011
I’m always happy when I have an excuse to talk to Eric Sanders – he’s one of the most talented people I’ve run across and I love that doing what I do allows me to periodically get him to update me on what he’s doing. A quick brush up: I first met Eric when he was re-imaging Algernon Blackwood’s The Wendigo (which scared the heck out of me) and then got to see his punchier side during Fight Fest with his crowd favorite: Last Life which was resurrected more times than (wait … I think I made this joke already. Cher’s career? Well, it writes itself so you fill in the blank).
Now, Eric Sanders has teamed up with Dave Nuss to bring forth Original Innocence – a Rock Opera and they’re hosting a “Symposium on Creation Mythology” on Wednesday, February 23, 2011 at 7 PM at the Anthroposophical Society of New York (138 West 15th Street btwn. 6th/7th Ave.).
This symposium will feature practitioners and scholars from an array of religious traditions discussing how the creation mythology of a religion creates or reflects the context for its ethical structure.
Several songs from the show will be performed, and food from the Holy Land will be served. BYOB.
Admission will be on a sliding scale (‘pay what you wish’) from $5-$50. All proceeds from the Symposium will go towards the first workshop presentation of “Original Innocence” on Friday, March 25, 2011 at 8 PM at the Issue Project Room in Brooklyn.
I asked Eric a few questions to find out a little more about what I (and you) can expect from this symposium.
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by Karen Tortora-Lee on February 2, 2011
You may remember Morningside Opera from the Opera Karaoke which I covered in December. They are a NYC-based opera collective, and they will present the world premiere of a new Handel opera entitled Atra, ossia, l’amore ricordato (Atra, or the remembered love) this Friday, February 4 and Saturday, February 5 at 8PM in the Ailey Citigroup Theater, New York City.
Friends of The Happiest Medium are welcome to use the discount code AMICI2011 when purchasing tickets via this link (click here) so be sure to take advantage of this offer!
Atra is a pasticcio comprising a selection of Handel’s best arias and music woven together by a modern plot that evokes themes from traditional opera seria. The multimedia production, designed and directed by Minou Arjomand, draws on projection, film, dance, music, and words to create a new opera, both in content and presentation, that explores connections between operatic conventions and social conventions in America today, in particular those surrounding the controversial topic of gay marriage.
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