http://blog.timesunion.com/localarts/capitol-steps-bring-barbed-jokes-to... Arts Talk The place to discuss the arts in the Capital Region Local Arts section | Meet the bloggers | Local author? Submit your book info Capitol Steps bring barbed jokes to Proctors November 3, 2011 at 9:00 am by Tom Keyser, features reporter It’s been 30 years since a group of jaded Senate staffers started the Capitol Steps and began satirizing their bosses and mocking democracy. While there are just a few Capitol Hill staffers left in the comedy troupe, that hasn’t stopped the Steps from aiming low and taking shots at the White House and Congress — and pretty much anything or anyone else in Washington, D.C. — through song parodies and skits. The group, which has released albums since 1984, recently issued “Desperate Housemembers,” a record with tunes such as “Ballad of the Queen Berets,” “Obama Spice Man,” “March Like an Egyptian,” “I’ve Grown Accustomed to My Facebook” and “Fun, Fun, Fun (’Til Obama Takes Our Tea Bags Away).” Chances are they’ll sing a few of those songs when they return to Proctors this week. At a glance When: 8 p.m. Saturday (11/5) Where: Proctors, 432 State St., Schenectady Tickets: $20-$45 Info: 346-6204; http://www.proctors.org – Mike Lisi
One night. One stage. Two incredible performers. Michael Feinstein and Marvin Hamlisch perform the Great American Songbook Saturday, November 19, 8:00 pm The Mainstage at Proctors Schenectady, NY – November 1, 2011 -- “When I first moved to Los Angeles,” said Michael Feinstein, “I discovered that movie studios would throw away archives, music publishers would get rid of old arrangements, manuscripts would be discarded, and complete orchestrations for shows would be tossed out. “Our musical heritage was literally disappearing because people didn’t understand it was valuable to save it.” For decades, Feinstein has collected, preserved and performed these treasures of American music by the likes of George and Ira Gershwin, Cole Porter, Irving Berlin, and Rodgers and Hart -- representing the best American songs of the 20th century, principally from Broadway theatre, musical theatre, and Hollywood musicals, from the 1920s to 1960, including dozens of songs of enduring popularity. This compilation, known as the Great American Songbook, remains a vital part of the repertoire of jazz musicians, who describe such songs simply as "jazz standards.” American music icons Michael Feinstein and Marvin Hamlisch will perform from this Great American Songbook in a special concert at Proctors on Saturday, November 19! As a composer, Marvin Hamlisch has won virtually every major award that exists: three Oscars, four Grammys, four Emmys, a Tony® and three Golden Globe awards. Michael Feinstein, the multi-platinum-selling, five-time Grammy-nominated entertainer, is considered one of the premier interpreters of American standards. His 150-plus shows a year have included performances at Carnegie Hall and the Hollywood Bowl as well as the White House and Buckingham Palace. And they're coming to Schenectady. BUY TICKETS NOW Tickets for Michael Feinstein and Marvin Hamlisch perform the Great American Songbook are available at Proctors Box Office, (518) 346-6204 or online at proctors.org. Ticket Prices: $20, $40, $50, $60 & $90 (subject to change). Significant discounts on tickets are available for groups of 20 or more. A listing of shows and pricing may be found on proctors.org/group_sales or by contacting Proctors Group Sales at 518-382-3884 ext. 139. Michael Feinstein and Marvin Hamlisch perform the Great American Songbook is made possible with public funds from the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State's 62 counties. HGM/Hill Gosdeck & McGraw, LLC is the title sponsor for Michael Feinstein and Marvin Hamlisch perform the Great American Songbook. ACCESS Continuing education, Inc. is the subsponsor for this event. Michael Feinstein and Marvin Hamlisch perform the Great American Songbook is made possible with public funds from the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State's 62 counties.
Spectacular Razzle Dazzle! Explosive! Fun! Drumline LIVE Saturday, November 26, 8:00 pm The Mainstage at Proctors ----- Enter Drumline Live “YOUR SOLO” Contest Schenectady, NY – November 2, 2011 -- DRUMLINE LIVE, a show-stopping attraction created by the music team behind 20th Century Fox's hit movie Drumline, brings show-style marching bands to the theatrical stage. This versatile group of musicians and dancers brings an explosive energy and athleticism to an eclectic mix of sounds. Equally at home with the hottest contemporary hip hop, R&B, classic Motown tunes, and the rousing sounds of the great brass tradition, DRUMLINE LIVE is thrilled to share the American Marching Band experience with a wider audience. "We've taken the excitement of an HBCU football game halftime show, increased the intensity by a thousand watts, and created a musical journey that will touch every emotion," said Don P. Roberts, Creator and Director. YOUR SOLO Contest Contributing to the excitement of DRUMLINE LIVE at Proctors is the YOUR SOLO Contest, which allows musicians to post YouTube videos of themselves performing a solo for the chance to be able to perform it onstage with the cast of DRUMLINE LIVE at Proctors on Saturday, November26 at 8 PM. The winner also will receive two V.I.P. tickets to DRUMLIVE LIVE and a meet & greet with the cast of the show. One winner will be selected in each market. The submissions will be uploaded to YouTube and voting on them will take place via an app on the DRUMLINE LIVE Facebook page. Entry form and instructions for DRUMLINE LIVE Your SOLO are now live at http://www.drumlinelive.com/yoursolo.html. The Buzz about DRUMLINE LIVE • "DRUMLINE LIVE" DAZZLES WITH EXPLOSIVE CHOREOGRAPHY AND THRILLING SPECTACLE…" —Showbiz Chicago • "DRUMLINE LIVE," PUTS THE BLACK MARCHING BAND TRADITION ON THE THEATRICAL STAGE - EFFECTIVELY CREATING SOMETHING THAT COULD VERY WELL OUT-STOMP "STOMP" AND OUT-BLAST "BLAST." —Springfield News Sun • "IT’S A MARCHING BAND EXTRAVAGANZA THAT PARADES OUT OF THE FOOTBALL STADIUM ONTO THE STAGE WITH EXPLOSIVE PERCUSSION, RESOUNDING BRASS AND DAZZLING CHOREOGRAPHY." —The Morning Call TICKETS ON SALE NOW Tickets for DRUMLINE LIVE at Proctors at 8 PM on Saturday, November 26 are available at Proctors Box Office, (518) 346-6204 or online at proctors.org. Ticket Prices: $20, $30, $35, $45 & $55 Significant discounts on tickets are available for groups of 20 or more. A listing of shows and pricing may be found on proctors.org/group_sales or by contacting Proctors Group Sales at 518-382-3884 ext. 139. DRUMLINE LIVE is made possible with public funds from the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State's 62 counties. Experience DRUMLINE LIVE on YouTube. (https://www.youtube.com/watch?v=xvL05NWYKMw&feature=player_embedded#YouTube) - DRUMLINE LIVE -
The beloved and enduring saga MAN OF LA MANCHA - Special Engagement - November 11 - December 17, 2011 ------- Go Backstage with Maggie* on Sunday, December 4 Albany, NY – November 2, 2011 – As enduring as hope itself, MAN OF LA MANCHA, based on the timeless Cervantes novel, has inspired audiences "To Dream the Impossible Dream" ever since winning five Tony® Awards in 1964. Adapted from Dale Wasserman's non-musical 1959 teleplay I, Don Quixote -- which was in turn inspired by Miguel de Cervantes's seventeenth century masterpiece Don Quixote – MAN OF LA MANCHA weaves the story of the "mad" knight, Don Quixote, as a play within a play performed by Cervantes and his fellow prisoners as he awaits a hearing with the Spanish Inquisition. Audiences, no doubt will fall under the spell of this touching and magical musical when it plays by Special Engagement at the region’s esteemed Capital Repertory Theatre from Friday, November 11 through Saturday, December 17, 2011. “MAN OF LA MANCHA is such an uplifting story,” says Capital Reps Producing Artistic Director Maggie Mancinell-Cahill who is directing this production. “The experience is further heightened by the outstanding cast we have assembled for the production at Capital Rep. “Nearly everyone has heard the music and even young children are familiar with the story,” she said: “Thrown into prison on trumped-up charges, Miguel Cervantes and his sidekick, Sancho Panza find themselves among a throng of debtors, thieves and worse. What better way to prepare your defense and plead your innocence than by enlisting the inmates to re-enact the magical tale of the greatest knight of all, Don Quixote – slayer of dragons, windmills and defender of ladies in distress. “Its message -- to never give up – that miracles happen – and we can reach the stars – is an inspiration to all of us.” The original 1965 Broadway production ran for 2,328 performances and won five Tony Awards, including Best Musical. The musical has been revived four times on Broadway, becoming one of the most enduring works of musical theatre. The musical has played in many other countries around the world, with productions in German, Hebrew, Japanese, Icelandic, Gujarati, Uzbek, Hungarian, Slovenian, Swahili, Finnish, Ukrainian and nine distinctly different dialects of the Spanish language. Recommended for ages 12 and up. Running time: Approx. 2 hrs and 15 minutes (including one intermission) AN ACTOR’S PERSPECTIVE Actor Kevin McGuire portrays Miguel de Cervantes/Don Quixote/and Alonso Quijana. A native of New York's Capital Region, he has played lead roles on Broadway, National and International tours of Les Miserables, The Phantom of the Opera, Jane Eyre and starred as Uncle Archie in The National Company of The Secret Garden. Mr. McGuire has garnered international recognition, traveling more than 80,000 miles and acting in more than 69 cities around the world. He shares his thoughts on MAN OF LA MANCHA at Capital Rep: · Kevin McGuire, Interview 1 · Kevin McGuire Interview 2 SPECIAL EVENTS FOR MAN OF LA MANCHA! Opening Night: Pre-Show - Live Music entertainment with special guest musician performing in the main lobby Post Show Reception - Dessert and Champagne Toast. After the show in the café, meet the cast and company as they are introduced by Capital Repertory Producing Artistic Director, Maggie Mancinelli-Cahill. *Backstage with Maggie: Sunday, Dec. 4 at 1:10 PM. Join Capital Rep’s Producing Artistic Director Maggie Mancinelli-Cahill for an insider’s perspective on the design of MAN OF LA MANCHA. Early Bird Previews - The first Friday, Saturday and Sunday of each show. Be among the first to see each play before it is reviewed by the press. PERFORMANCES Evening Performance Times Tuesday, Wednesday, Thursday: 7:30pm · November 15, 16, 17, 22, 23, 29, 30 · December 1, 6, 7, 8, 13, 14, 15 Friday, Saturday: 8:00pm · November 11, 12, 18, 19, 25, 26 · December 2, 3, 9, 10, 16, 17 Sunday: 7:00pm · November 20, 27, December 4 Matinee Performance Times Wednesday: 2:00 · November 23 Saturday: 3:00 · November 12, 19, 26, December 3, 10, 17 · November 13, 20, 27, December 4, 11 Sunday: 2:00 TICKETS ON SALE NOW Weekends: $50, $60 & $70; Weekdays: $40, $50 & $60 1. In person – At Proctors 432 State Street, Schenectady Monday-Friday 10AM-6PM Sat-Sunday 10AM-5PM At Capital Rep 2 hours before any show 2. Over the phone (518) 445-SHOW (7469) 3. Online @ www.capitalrep.org CAST of MAN OF LA MANCHA Kevin McGuire* Miguel de Cervantes/Don Quixote/Alonso Quijana (alphabetically) Brendan Brierley prisoner/Jose Chris Caron prisoner/Pedro Jeffrey Funaro* Anselmo/prisoner/trumpet/clarinet Robert Anthony Jones* Manservant/Sancho Emily Mikesell* Housekeeper/prisoner/violin/flute/piccolo Joe Phillips prisoner/Barber Shannon Rafferty* Antonia/prisoner/donkey/Moorish Dancer/Fermina Freddy Ramirez* The Captain/horse/Juan/Moorish Dancer Breanna Stangel prisoner/serving girl/Belly Dancer David Sutton prisoner/Padre Anne Fraser Thomas* Aldonza/Dulcinea Christopher Vettel* The Duke/Doctor Carrasco/guitar Scott Wakefield* The Governor/Innkeeper/guitar Erin Waterhouse prisoner/Maria/Moorish Dancer STAGE MANAGEMENT Liz Reddick* Production Stage Manager Sara E. Friedman* Assistant Stage Manager * member of Actors Equity Association DESIGN TEAM Roman Tatarowicz Sets Stephen Quandt Lighting Anna Lacivita Costumes David Thomas Sound PIT MUSICANS Adam Jones keyboard/musical direction James Doug Esmond classical guitar Cast percussion ABOUT CAPITAL REP Capital Repertory Theatre has a rich, local history of excellent entertainment and strong community relationships. Established in 1981, it came into existence through the dedication and perseverance of a group of Albany business, community and civic leaders. Donated labor, materials and expertise transformed the Grand Cash Market, an abandoned supermarket at 111 North Pearl Street, into what was to become the home of Albany's first professional resident theatre. Over the past 30 years, the facility on North Pearl Street has been renovated several times, and now includes a 286-seat theatre, a café space, a costume-making shop, and a rehearsal hall. In addition to returning more than 83% of its operating budget directly back to the local community, Capital Rep brings vitality and commerce to downtown in the form of more than 75,000 diners, shoppers, and tourists, serving as an economic engine in the entertainment district on North Pearl Street. In all programs and services, Capital Repertory Theatre reflects its mission by embracing its community as a source of inspiration. Capital Rep embraces cast, crew and audiences from every background to expand the horizons of thought and understanding of the human condition through the power of theatre. Capital Repertory Theatre is a professional, not-for-profit cultural organization, and the only member of the League of Resident Theatres (LORT) within fourteen counties of the Upper Hudson-Mohawk Valley. As a proud member of LORT, an esteemed organization that promotes the positive impact of theatres in the arts and communities nationwide, Capital Rep is able to create excellent opportunities for both up-and-coming and seasoned theatre professionals. Today, these affiliated theatres provide artists with a support system for developing new work, as well as reviving classics and perennial favorites. LORT members strive to provide hundreds of thousands of people with the opportunity to experience the highest caliber of performance right in their own communities. For more information about LORT, please visit http://www.lort.org/. NYSCA Support Capital Repertory Theatre receives general support from the New York State Council on the Arts (NYSCA), celebrating 50 years of building strong, creative communities in New York State's 62 counties. - 30 –
OTHER SHOES October 31, 2011 at 10:30 pm by Philip Morris Climate change is real. Even professional skeptics have allowed this reality. If you live in Texas, you understand the lack of water and the devastating fires. If you live in Louisiana or Mississippi, you know about the flooding ocean. In the Northeast, we have had the floods from Irene and now the worst October snow ever recorded. While I did not suffer the fires or the mudslides of California, I watch my friends and neighbors tackling the results from Irene. Some in our region did not have firsthand witness of the floods of Schoharie Creek or the Mohawk, but have had two feet of this wild snowstorm. Over a million people, now, two days later, still without power. I remember some folks expressing a “they had it coming” attitude about disasters in Florida or Chicago a few ago. I admit to gloating about earthquakes in the west (no longer!) If nothing else, climate change has put us all in a position that what we knew before must be adjusted. All of us. We will be surprised again and again. We will need tree crews from Kansas to come to Vermont and snow plows from New York to go to Atlanta and flood experts from Jersey to drive to Missouri. We will need each other more than ever. Anyone who denies that truly has missed the point.
Theater review: ‘La Cage’ struts Proctors stage with flash and bounce Friday, October 28, 2011 By Matthew G. Moross Text Size: A | A | A ‘La Cage aux Folles’ WHERE: Proctors, 432 State St., Schenectady WHEN: 8 p.m. today, 2 and 8 p.m. Saturday and 2 p.m. Sunday HOW MUCH: $70 to $20 MORE INFO: 346-6204, www.proctors.org SCHENECTADY — If you have never seen the musical “La Cage Aux Folles,” or even if you have seen it a dozen times, the best of times to see it is now. At Proctors through Sunday, it is a fresh and jubilant production, full of bounce and tickle, just what is needed to get you smiling. Based on a hit French farce by Jean Poiret, “La Cage” was reworked into a sentimental and spectacular musical in 1983 by composer/lyricist Jerry Herman and playwright/performer Harvey Fierstein. Combining family values and the world of the drag shows of the French Rivera, where a chorus of high-kicking drag queens of no fixed gender strut their flashy stuff, is no easy feat. But Herman and Fierstein have created something rare — ridiculous musical mayhem dosed with a gentle bid for tolerance and compassion. The plot is this: Nightclub owner Georges is lumbered with a problem. His adult son, Jean-Michel, conceived in a singular night of heterosexual romance 24 years ago with a chorus girl, wants his father to meet his fiancée’s right-wing politician father. But how can Albin, Georges’ flamboyantly gay partner and the nightclub’s featured star, be kept out of the way? Based on a production at London’s tiny Menier Chocolate Factory Theater in 2008, this rethought revival was so successful that it moved to the West End, then back to Broadway two seasons ago. For this national tour, both British director Terry Johnson’s intimate, small-scale approach to the piece and Lynn Page’s wonderfully electric choreography have been retained. And the results are ferociously entertaining. Herman’s music has sometimes been derided as “unfashionable” or “old-school.” The fact remains that the man can write one heck of a show tune. No one, save Irving Berlin, can rival Herman’s skill for getting an audience to hum his score while exiting the theater. Being able to carry the tunes with you makes you feel included and involved, and those are two themes of the play that Herman has deftly underscored. Still devilishly handsome, and still owner of that certain “glow,” screen star George Hamilton has an approach to the part of nightclub owner and emcee Georges that seems slightly impassive at first. But as the story unfolds, the actor’s innate charm surfaces. Although Hamilton does not possess strong vocal chops, his “Look Over There,” a duet with Billy Harrigan Tighe (as Jean-Michel) and his song of remembrance to his partner Albin, “Song on the Sand,” pluck all the heartstrings they were designed to. As Albin/Zaza, star of the nightclub and “mother” of the groom, Christopher Sieber is impressive — in and out of heels. Full of flourish and fussiness, Sieber creates a coquette with a liberal slice of ham that amuses when donning the mask of powder and mascara. The unapologetic anthem “I Am What I Am” is given a star turn by Sieber. Tossing aside the somewhat manipulative nature of the moment and the pedantic preaching of the lyrics, Sieber finds every nuance and emotional wrinkle. It’s simply brilliant and well worthy of the standing ovation that we were all ready to give. READ FULL STORY: http://www.dailygazette.com/news/2011/oct/28/1028_lacagerev/
La Cage aux Folles-Review Posted by rich on October 27, 2011 By State, Capital District, Cool Things to Do, New York, Theatre La Cage aux Folles by Richard DiMaggio didyouweekend.com ***** (five stars) La Cage aux Falles, starring George Hamilton and Christopher Sieber, kicked off at Proctors to a standing ovation last night. What is not to love about this show! The curtain raised to a foot stomping “We are What we Are” and the crowds stood again when the curtain closed to “The Best Times Are Now”. “We are what we are and what we are is an illusion. We love how it feels Putting on heels causing confusion.” A song I will be singing in the shower for days to come. La Cage will keep you in stiches from beginning to end. To start the show with comic relief was a real La Cage comedienne-a-la-drag on stage making fun of the audience with a Joan Rivers type of hysterical humor. “I see a lot of old farts in this crowd,” she bellowed. “Be careful. The show is nine hours long with no intermission, so I hope you wore your Depends. It’s La Cage aux Folles, not On Golden Pond.” And so the crowd roared. We came out of this show happy as can be, with hundreds humming of “The Best Times Are Now” throughout the Proctors lobby. George Hamilton played George, nightclub owner and gay lover of Albin, played by Christoher Sieber. At first glance, George Hamilton’s perpetual tan can be perpetually irritating. But this part was absolutely him. He didn’t even have to act it. He fit the role of a gay night club owner like no one else could. And even though he was the “star”, he actually played the leading role in a backseat sort of way, allowing the show to orchestrate around him, bringing it all together and in balance and harmony at the end. Christopher Sieber, Albin, was incredible. He was the star. This man can sing, and kept the crowd laughing all night long. Tears of sadness to laughter and delight were never more than a few notes away from each other. When George’s son from a one night fling with a show girl twenty years ago decides to get married, things fall part. The son’s future father in law is running for office on the strict “Family” ticket, which doesn’t include gay couples. In fact, if elected, he intends to tear down all gay nightclubs. George invites the real mother to his son’s wedding, and Albin—who raised the son as “mother” from day one–gets booted to the back seat to hide his orientation. Real mom can’t make the wedding, so Albin takes the roll, dressed in drag and all. And does she keep the crowd laughing. READ THE FULL STORY: http://www.didyouweekend.com/la-cage-aux-folles-review/
La Cage Aux Folles @ Proctors, 10/26/11 http://blog.timesunion.com/localarts/la-cage-aux-folles-proctors-102611/... October 27, 2011 at 12:20 am by Michael Eck by Michael Eck Special To The Times Union There’s a reason “La Cage Aux Folles” won the 2010 Tony Award for Best Revival of a Musical. It’s really good. Of course the touring production boasts a different cast — featuring George Hamilton, just in case you’ve been living under a rock — but it’s still wonderful, at least if its current stop at Proctors is any barometer. Hamilton — in his best Jerry Jennings suntan — plays Georges, owner of the La Cage Aux Folles nightclub. He begins the night as a cardboard cut-out, but as the play proceeds it becomes clear that this is an acting choice. Hamilton underplays the role, and somehow, in the process, makes the character more human and more moving. Christopher Sieber, as Albin, is his foil. Hamilton’s very low key work makes Sieber’s flamboyance even more effective. The plot of the show hinges on the engagement announcement of Georges’ son, Jean-Michel (Billy Harrigan Tighe). He is banking on the heart of beautiful young Anne (Allison Blair McDowell), who is unfortunately the offspring of Edouard Dindon (Bernard Burak Sheredy), the ultra-conservative Deputy General of the Tradition, Family and Morality Party — the same organization hoping to shut down tawdry entertainments like La Cage. But in Harvey Fierstein and Jerry Herman’s able adaptation of Jean Poiret’s play, “La Cage” really becomes a love story and a treatise on family. Hamilton and Sieber make the love story work. With “Song on the Sand,” delivered in a peculiarly Rex Harrison way, Hamilton woos the audience, not just Albin. And “Look Over There” is beautifully poignant (and even moreso in Tighe’s reprise). Hamilton exudes Hollywood charm, and occasionally he seems to be onstage just for his celebrity value, but he really does win one over by the end of the show. Sieber wins everyone over from the first beat. As Albin he is also Zaza, the biggest star and the biggest queen of La Cage. Whether wowing with the title tune or breaking every heart in the room with “I Am What I Am,” Sieber is delightful. He’s even a little bit Divine, if you get the drift. The show’s big production numbers succeed in part because much of the tone is quiet, a very smart move on director Terry Johnson’s part. Les Cagelles, the club’s dancers, dazzle on the opening “We Are What We Are” and the long, fascinating sequences of “La Cage Aux Folles.” A cage dance, for example, makes good on the promise of birds of a feather, and the shadow play that starts the show is a pure visual treat. “La Cage” is that rare musical that feels good without being a “feel good” musical. And for those who care, the production values — from set and costume design to choreography and music direction — are just great across the board. LA CAGE AUX FOLLES Performance reviewed: 8 p.m. Wednesday Where: Proctors, 432 State Street, Schenectady Running time: 3 hours; one intermission Continues: 8 p.m. Thursday through Saturday; 2 p.m. Thursday, Saturday and Sunday. Tickets: $20-$70 Info: 346-6204; http://www.proctors.org
Re-elected for their popular performance! Capitol Steps Return to Proctors on Saturday, November 5, 8:00 pm Schenectady, NY – Oct. 27, 2011 – Reputed as the group that puts the "mock" in democracy, THE CAPITOL STEPS sprang to life when a group of Senate staffers set out to satirize the very people and places that employed them. We’ll get the benefit of their laugh-a-minute insights when THE CAPITOL STEPS plays at Proctors on Saturday, November 5. THE CAPITOL STEPS begin in 1981, at a Christmas party in the office of former Senator Charles Percy. Their first idea was to stage a nativity play, but in the whole Congress they couldn't find three wise men or a virgin. So, they decided to dig into the headlines of the day, and they created song parodies and skits that conveyed a special brand of satirical humor. Like most things in Congress, they never knew when to stop. Over the past thirty years, the Capitol Steps have recorded thirty-one albums, and appeared on “Good Morning America,” the “Today Show,” “20/20,” “Entertainment Tonight,” “Nightline,” CNN’s “Inside Politics,” and dozens of times on National Public Radio’s “All Things Considered.” For the past twenty years, they’ve produced quarterly specials for public radio and have been featured in three national specials for public television. They’ve performed for five U.S. Presidents (six if one includes Hillary.) Many of the performers have worked on Capitol Hill, some for Republicans, some for Democrats, and some for members who sit firmly on the fence. In fact, the current cast of THE CAPITOL STEPS has at one time or another infested the offices of eleven US Senators and seven Members of the House of Representatives. Most of these politicians have since been defeated or placed under investigation. “The troupe has become a favorite on the Washington social circuit. Its political satire brings chuckles…rave reviews…guffaws…and bipartisan grins all around. The satire hits the mark.” THE WALL STREET JOURNAL “Clapped like mad for the Capitol Steps!…The best musical satire on Washington I’ve ever seen!” THE WASHINGTON TIMES “They’re the best. There’s no one like them, no one in their league.” LARYY KING, CNN “These people are very funny. They do comedy, they do satire, and they do it extremely well.” BERNARD SHAW, CNN “Their insight and analysis are better than yours, Novak!” JOHN McCLAUGHLIN, The McLaughlin Group “*#@!*! you guys are funny!” TOM CLANCY, Author “The Capitol Steps make it easier to leave public life.” Former PRESIDENT GEORGE BUSH, Sr. THE CAPITOL STEPS have 31 albums. Their most recent is “Desperate Housemembers”. To order, visit www.capitolsteps.com Age Recommendation: The Capitol Steps do not use any profanity in their routines. However, according to the scandal of the day, some songs/subjects/routines may include suggestive innuendo. Approximate Running Time: 90 min The Steps in Action Halloween Broadcast! Shorter than a GOP debate and certainly less frequent — it's Halloween with the Capitol Steps! Tune in for our Halloween Radio Special. (http://www.capsteps.com/radio/) Visit THE CAPITOL STEPS on YouTube: https://www.youtube.com/watch?v=rmhpChQ5OlM&feature=player_embedded Tickets On Sale Now Tickets to The Capitol Steps are available at Proctors Box Office (518) 346-6204 or online at proctors.org. Ticket Prices: $20, $25, $35 & $45. Significant discounts on tickets are available for groups of 20 or more. A listing of shows and pricing may be found on proctors.org/group_sales or by contacting Proctors Group Sales at 518-382-3884 ext. 139. This performance of THE CAPITOL STEPS is made possible with public funds from the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State's 62 counties. THE CAPITOL STEPS at Proctors is sponsored by Cool Insuring Agency/Insurance Made Simple and by David Phaff & Associates at Realty USA.com.
NATIONAL TOUR TO MAKE SCHENECTADY PREMIERE AT PROCTORS, Nov. 29 – Dec. 4 ------ SILLS & GETTELFINGER TO STAR Schenectady, NY – October 25, 2011 -- The national tour of the new musical THE ADDAMS FAMILY, based on the bizarre and beloved family of characters created by legendary cartoonist Charles Addams, will make its Schenectady premiere on November 29 at Proctors as part of the Key Private Bank Broadway Series at Proctors. Douglas Sills, a Tony Award nominee for The Scarlet Pimpernel, and Sara Gettelfinger, last seen on Broadway in A Free Man of Color and Dirty Rotten Scoundrels, will star as Gomez and Morticia. Additional casting will be announced shortly. THE ADDAMS FAMILY, now in its second year on Broadway, began performances in March 2010 at the Lunt-Fontanne Theatre and immediately became one of Broadway’s biggest hits. Chris Jones of the Chicago Tribune described the production as “classic, full-tilt, fast paced, old-fashioned musical comedy!” and John Simon of Bloomberg News called it “uproarious! A glitzy-gloomy musical entirely worthy of the macabre drawings by Charles Addams.” THE ADDAMS FAMILY features a book by Marshall Brickman and Rick Elice, and music and lyrics by Andrew Lippa. The production is directed and designed (sets and costumes) by Phelim McDermott and Julian Crouch, with creative consultation by Jerry Zaks and choreography by Sergio Trujillo. The production features lighting design by Natasha Katz, sound design by Acme Sound Partners and puppetry by Basil Twist. THE ADDAMS FAMILY features an original story and it's every father’s nightmare. Wednesday Addams, the ultimate princess of darkness, has grown up and fallen in love with a sweet, smart young man from a respectable family. A man her parents have never met. And if that weren't upsetting enough, she confides in her father and begs him not to tell her mother. Now, Gomez Addams must do something he's never done before - keep a secret from his beloved wife, Morticia. Everything will change for the whole family on the fateful night they host a dinner for Wednesday's "normal" boyfriend and his parents. In a prolific career spanning six decades, Charles Addams created several thousand cartoons, sketches and drawings, many of which were published in The New Yorker. But it was his creation of characters that came to be known as The Addams Family that brought Addams his greatest acclaim. With a unique style that combined the twisted, macabre and just plain weird with charm, wit and enchantment, Addams’ drawings have entertained millions worldwide and served as the inspiration for multiple television series and motion pictures. THE ADDAMS FAMILY is produced on Broadway by Stuart Oken, Roy Furman, Michael Leavitt, Five Cent Prods., Stephen Schuler, Decca Theatricals, Scott M. Delman, Stuart Ditsky, Terry Allen Kramer, Stephanie P. McClelland, James L. Nederlander, Eva Price, Jam Theatricals/Mary Lu Roffe, Pittsburgh CLO/Gutterman-Swinsky, Vivek Tiwary/Gary Kaplan, The Weinstein Co./Clarence, LLC and Adam Zotovich/Tribe Theatricals, by special arrangement with Elephant Eye Theatrical. For more information, visit www.theaddamsfamilymusicaltour.com. TICKETS NOW Tickets for THE ADDAMS FAMILY at Proctors are available at Proctors Box Office, (518) 346-6204 or online at proctors.org. Ticket Prices: $20, $35, $45, $50, $60 & $70 ( subject to change). Significant discounts on tickets are available for groups of 20 or more. A listing of shows and pricing may be found on proctors.org/group_sales or by contacting Proctors Group Sales at 518-382-3884 ext. 139. THE ADDAMS FAMILY is made possible with public funds from the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State's 62 counties. THE ADDAMS FAMILY is sponsored by the Key Private Bank Broadway series. Subsponsors for THE ADDAMS FAMILY are MVP Health Care and Dimension Fabricators, Inc. Recommended for age 10 and above. Running Time: 150 min including one intermission. Signed Performance for Hearing Impaired: Sun., Dec. 4 at 2 PM. Henry Schaffer TheatreTalk: Post–show: Thu, Dec 1, 2011 after the 2:00pm performance. “This series of talks is intended to enrich the experience of patrons at Proctors by giving them additional perspectives on the shows they are seeing,” said CEO Philip Morris. “We are appreciative of the H. Schaffer Foundation for their support of this effort to enrich the cultural experiences of those attending our shows,” he added. The Henry Schaffer TheatreTalk series offers pre- or post-performance arts discussions to ticket buyers free of charge. The discussions are delivered by Company artists to engage patrons in a unique forum for learning about a specific performance. Audience members are encouraged to ask questions about the artists, repertoire and performance, creating a dynamic interaction geared toward increasing awareness about the Arts. v
Arts Talk The place to discuss the arts in the Capital Region Local Arts section | Meet the bloggers | Local author? Submit your book info Morris: What Broadway series means to Proctors October 23, 2011 at 3:00 am by Tom Keyser, features reporter As “La Cage aux Folles” begins the fifth season of the Broadway series at Proctors, Philip Morris, Proctors CEO, sums up the series this way: “It’s working.” Five years is new from a national point of view, he says. But if you look at the series on a year-by-year, title-by-title basis, he says, you see that Proctors has been regularly attracting fresher, “closer-to-being-in-New-York” events. “It’s part of the community response to what we’ve been doing,” Morris says. “It’s working. And producers see it’s working. We’ve earned in five years a reasonable reputation for being a good place for the producers to bring shows. Five years ago it was kind of hard to convince people. Now there’s no convincing required.” He says the five shows of the Broadway series sell about 120,000 tickets, which 10 years ago, Morris added, was the number of tickets to all Proctors events. Now, Proctors sells about 275,000 per year (including the Broadway series), and the building hosts about 600,000 people per year for conferences, meetings, summer schools, farmers’ markets and other events. With ticket sales for the Broadway shows representing 44 percent of Proctors’ total, the series is critically important to Proctors’ bottom line. Right? “Oh absolutely,” Morris says. “But a lot of people think that because we grossed $5 million on ‘The Lion King’ that therefore we made $5 million. Truth is, even doing very well at it, we make pennies beyond our costs.’’ “I know that’s hard for people to understand. But these things are expensive. A typical Broadway week we have $80,000, $90,000 of labor. There’s all the usual house costs … When it’s all said and done, if a week grosses $700,000, which is a very good week, then we’ll make $30,000. “So is it important to us financially? Absolutely. Does it pay the bills for year? Absolutely not, not even close.” It costs about $15 million per year to operate Proctors, Morris says. And in the past three or four years, it has swung between making a few thousand dollars and losing a few thousand dollars. Over the past five years, he says, Proctors has broken even. “With the community, we’ve created a marketplace for this stuff,” he says. “And that’s exciting. When we started our Broadway series, it didn’t come off so big. We didn’t have a lot of subscribers (about 1,200 compared to 4,760 now). We didn’t have a lot of what the industry needs to see to say: ‘Capital Region is a place for Broadway.’ But over time, that emerged.”
Role reversal: ‘Le Cage’ road adventure switches actor Sieber from Georges to Albin Saturday, October 22, 2011 By Bill Buell (Contact) Gazette Reporter George Hamilton, left, and Christopher Siebe starr in the national tour of “Le Cage aux Folles,” which comes to Proctors next week. Christopher Sieber had to consider the pros and cons: Should he make a 42-week commitment to play opposite George Hamilton in the national touring production of “Le Cage aux Folles?” Evidently the 42-year-old Minneapolis native and two-time Tony Award nominee couldn’t think of a good reason not to. “Ultimately, it sounded like a great adventure,” said Sieber, who was Georges in the Broadway production of “Le Cage” but is playing Albin in the touring show, opening Wednesday at Proctors and running through the following Sunday, Oct.30. “I did have to think about it. But I hadn’t been on the road for 20 years, so I decided I would have a good time and go see the country again. It sounded like a lot of fun.” The show, based on the 1973 French play of the same name, tells the story of a nightclub owner named Georges and his partner Albin, who along with being Georges’ lover is also the club’s star attraction, a drag performer who goes by the name of Zaza. Harvey Fierstein (book) and Jerry Herman (music and lyrics) turned the play into a musical and put it on Broadway in 1983, winning six of the 10 Tonys for which it was nominated. It enjoyed two successful revivals on Broadway, the second one just last year with Fierstein playing Albin opposite Jeffrey Tambor’s Georges before Tambor was replaced by Sieber. ‘Le Cage aux Folles’ WHERE: Proctors, 432 State St., Schenectady WHEN: 8 p.m. Wednesday, 2 and 8 p.m. Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday. and 2 p.m. Sunday HOW MUCH: $70-$20 MORE INFO: 382-3884, www.proctors.org Read full story at: http://www.dailygazette.com/news/2011/oct/22/1022_lecageactor/
The Bolshoi Re-Opening Gala Projected onto Proctors GIANT screen! Friday, October 28, 7:30 pm, GE Theatre at Proctors Introduction by Arts Critic Joseph Dalton, Pre-show party for Gala ticket holders. Schenectady, NY – October 20, 2011—The long-awaited reopening of the refurbished historic Bolshoi Theatre – at an estimated cost of $800 million -- is less than a week away and this monumental event will be shown at Proctors – via projection onto its GIANT screen in the GE Theatre. The $20 admission includes a celebratory glass of champagne and biscuits starting at 7PM in the Wright Family Atrium of the GE Theatre. Additional champagne may be purchased at $5 a glass. Noted arts critic Joseph Dalton will introduce the Bolshoi re-opening at 7:30 in the GE Theatre. GALA ON A GRAND SCALE An event seven years in the making, The Bolshoi Re-Opening Gala features excerpts from Russian masterpieces such as Don Quixote, The Flames of Paris, The Bright Stream, Spartacus, Swan Lake and more, performed by all the Principal dancers and Soloists of the Bolshoi, along with operatic performances by Placido Domingo, Natalie Dessay, Dmitri Hvorostovsky, Violeta Urmana and other special guests. Broadcast from Moscow. Highlights from the evening's program • A special re-staging of the garland waltz from The Sleeping Beauty by Alexey Ratmansky, with music by Pytor Illich Tchaikovsky. • Bolshoi Orchestra performs the polonaise from the opera Ivan Susanin by Mikhail Glinka. This opera is commonly known in the West as A Life for the Tsar. • Performance of the Act II opening scene, "The Apian Way," from the ballet Spartacus, with music by Aram Khachaturian and choreography by former director and chief choreographer of the Bolshoi Ballet, Yuri Grigorovich. • Performance of an excerpt from the opera, Betrothal in a Monastery, by Sergei Prokofiev. This opera was premiered in St. Petersburg at the Kirov Theatre in 1964. • Performance of the folk-like "Basque Dance" from the ballet The Flames of Paris, with choreography by Alexei Ratmansky and music by Boris Asafiev. • Rarely seen or heard in the West, singers of the Bolshoi Opera will perform an excerpt of Tchaikovsky's one-act opera, Iolanta. This opera served as an opening to the premiere of Tchaikovsky's ballet The Nutcracker, in St. Petersburg. • Members of the Bolshoi Opera perform the famous "Polovetsian Dances" scene from the opera Prince Igor by A. Borodin. Director: Dmitri Tcherniakov. Choreographers: Yuri Grigorovich, Serguey Filin, Pierre Lacotte. Conductor: Vassily Sinaisky. TV Directors: Andrei Boltenko, with Andy Sommer. With the Bolshoi Theatre Orchestra. Running time: 90 -95 minutes without intermission. ABOUT JOSEPH DALTON As a classical music critic and general arts reporter for the Times Union and other publications, Mr. Dalton’s stories have received awards from ASCAP and the Associated Press. His recent book “Artists and Activists” broadly profiles the arts scene in New York State’s Capital Region. A veteran of the recording industry, he produced more than 300 CDs of American music while serving as executive director of Composers Recordings, Inc. As a consultant to the Estate Project for Artists with AIDS, he led a three-year research initiative into the effects of the epidemic on American music that resulted in an on-line report and catalogue. He blogs at www.HudsonSounds.org and www.MyBigGayEars.com. TICKETS ON SALE NOW Tickets for THE BOLSHOI RE-OPENING GALA are available at Proctors Box Office, (518) 346-6204 or online at proctors.org. This program (or performance) is made possible with public funds from the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State's 62 counties. B95.5 fm is the sponsor for THE BOLSHOI RE-OPENING GALA and all GIANT Movies at Proctors. For more information on the Friday, October 28 BOLSHOI Re-Opening GALA, contact Robert Warlock, Film Program Coordinator, Proctors, 432 State Street, Schenectady, NY 12305, 518-382-3884 ext. 128; Cell: 518-256-8395 - 30 - RELEATED ARTICLE: From Voice of Russia website The restored Bolshoi offers comfort for better work The restoration work at Moscow’s Bolshoi Theater is over, with the legendary stage now ready to host the first performance in six years on October 28. The audiences will be able to see and feel all the improvements at the very entrance. The Bolshoi’s opera and ballet companies have already enjoyed the results of the revamp. One of the major aims of the restoration was to create comfortable surroundings for dancers, singers, choreographers and everyone else involved in the production process. Spokesman for the restoration company responsible for the Bolshoi revamp, Mikhail Sidorov, commented on the changes made in an interview with the VoR: “Expanding room sizes was a matter of priority. In accordance with the laws of contemporary architecture, to be able to create a truly modern stage production, the troupe should have four times more space than the audience. When the Bolshoi was closed for restoration, we had ‘one to one’ proportion. Now it is ‘one to four’, as it should be. The troupe now has their own buffet rooms, massage cabinets, not to mention all necessary rooms where costumes and properties should be kept”. With 11 new rehearsal rooms in the restored building, the lack of place where to dance or sing is no longer a problem for the company. The main hall, known as the upper stage, is a replica of the main stage, with all its technical characteristics respected. The problem of dressing rooms has been finally solved. Mikhail Sidorov: “Dressing rooms had been a painful issue for the theater for decades. Since the theater was built in 1856, it was impossible to offer comfort to all actors, and they had to share one shower and toilet. Now each dressing room has a shower and a toilet inside, and looks like a room in a luxurious hotel”.
Proctors: On & Off Stage Five-year-old hero By Robin Wiley Thursday, October 20, 2011 Our region has been inundated by bad news related to the recent hurricane and flooding. Almost at the same time, people joined together in near-instant fundraising and assistance efforts to help our communities, our friends, our neighbors and even total strangers. [As a Proctors employee, I was proud of our organization’s involvement in efforts such as Project Hope and Capital Region Relief.] What I did not realize is that without being told directly of these efforts, how quickly children and young people absorb media messages and adult conversation and want to act on them. A recent afternoon with my own grand children provided a proud lesson learned. As I pulled into the Rotterdam Hannaford Plaza around 9:12 A.M., this past Sunday, my 5-year-old grandson, Dominic Lombardi, announced that someone was lying dead on the ground. I kept driving, half-hearing him, but mostly concentrating on traffic. He repeated himself loud and clear, "Gramma, someone is lying on the ground and I think they are dead". His cousins -- Brieana and Nick -- and I thought Dominic had quite the imagination until he said more urgently, "Gramma, if he's not dead he may be injured and need help". At that, I redirected the car. "Well, we'll drive over and check it out," I told him as much to appease his urgency as well as my own curiosity and growing alarm. As we drove I suggested that maybe what he saw were garbage bags in the grass waiting to be collected on Monday morning. But as we got closer this very sweet, sensitive little boy stood his ground insisting that it was a human being. Then I saw a man's hand. I noticed that he had lifted his head – only to see it fall to the ground again. Stopping the car, I told the kids to stay inside. I trusted that they would do as they were told because they are awesome and well-mannered kids. I ran up to the man and asked if he was okay. He responded, "No". I asked if he needed an ambulance and he said, "Yes". He told me that he had a heart condition and high blood pressure. His heart was beating out of rhythm, his head hurt and he was nauseous and dizzy. He had been trying to call 911 but was unable to make the call. As we awaited the ambulance I told him that it was my five-year-old grandson Dominic who had insisted we turn around to help him. He was very appreciative. As the paramedics treated the man, I told Dominic how proud I was of him for helping to save this man's life. He beamed with pride. Reflecting on the day, I realized how frustrating it must be for a child who has an urgent message that falls on deaf ears. Had I refused to go back, I don't know what might have happened to the man, but I do know Dominic would have also suffered. The lesson I will take from this is to listen better to a child. This sweet child became a hero that day. ________ Proud Grandma Robin Wiley is Director of Corporate Relations for Proctors & Cap Rep Theatres. She is thrilled with her new hero. To read more about Proctors, click HERE.
George Hamilton, the tanned one, leads musical comedy ‘La Cage aux Folles’ into Proctors October 20, 2011 at 5:00 am by Tom Keyser, features reporter George Hamilton (Photo by Paul Kolnik) There he is, that big smile, those white teeth, the slicked-back silver hair and, yes, that bronze face. We’re talking about George Hamilton, the actor, ladies man, bon vivant and, according to his nickname in Hollywood, the tanned one. He’s coming to the Capital Region this week with the touring production of “La Cage aux Folles.” Hamilton co-stars as Georges, owner of a glitzy drag club, in the musical comedy that opens Wednesday at Proctors. He’s prominently featured in the advertising — that smile, those teeth, that tan — in a pose that’s funny and over-the-top. Hamilton would be the first to laugh. “The joke’s always been on me, and I’m the first one to make it,” he says. “I’ve never really taken myself too seriously.” He has just gotten back to his hotel room after another round of rehearsals. He’s in Des Moines, Iowa, and it’s one week before opening. (The national tour opened Oct. 11 in Des Moines. It’s concluding its second stop today in Minneapolis before heading to Schenectady.) “We’re in the final days of rehearsal, in what is known as tech rehearsal, which is pretty grueling,” he says. “They’re 12-hour days of lighting and orchestra and such. And you have traveling, and all the things that are involved. And I’m 72. It’s an interesting challenge.” Kelsey Grammer had the role on Broadway in the production that last year won three Tony Awards, including best revival of a musical. Robin Williams played it in “The Birdcage,” the 1996 film version of the play, in which a gay cabaret owner and his drag-queen companion try to act straight so Georges’ son can introduce them to his fiance’s right-wing parents. Christopher Sieber, left, and George Hamilton (Photo by Paul Kolnik) Co-starring with Hamilton is Christopher Sieber, who played Georges for a month and a half on Broadway after Grammer left. Sieber, a highly regarded Broadway veteran, has switched roles and in this production portrays Georges’ drag-queen companion. Nathan Lane played the role hilariously in “The Birdcage.” “I’m the, for want of a better word, puppet master for this club,” Hamilton says. “My character carries forth the narrative of the whole show. It’s 2 hours and 35 minutes of being on stage, and every week we’re usually going to be doing eight shows in six days.” He says he’s signed on for one year. “I will be an older man by the time this is done,” he says, laughing. He doesn’t need the money, so why do it? “I think if you don’t, you just rust out, and you develop arthritis in your hand that fits a martini glass, which I’ve done,” he says. “I’ve lived a pretty full life as it is. I started in that era in the ’50s when it was about drinking and staying up late. It was that whole drug era. And I came out of all that unscathed. A lot of the fellow actors I grew up with and started with, very few of them are still around.” He started acting professionally in his late teens. In 1960, the year he turned 21, he appeared in three films, working with, among other top names, Robert Mitchum, Robert Wagner and George Peppard. He’s appeared in more than 50 films and on more than 40 television shows, including “Dancing with the Stars” in 2006, the latest performance that garnered national attention. But it’s his “debonair style and perfect and perpetual suntan,” as it’s been described, for which he is most famous. Asked when he got started on that tan, he says: “I think that started right after a movie I made called ‘Where the Boys Are’ (one of the 1960 films). MGM kept casting me as this kind of Cary Grant character. And Cary and I used to talk. Cary was always working on his suntan, and he said to me, ‘Men look better with a tan.’ “So I just continued that on through. And after Cary and Glenn Ford and those guys were gone, Hollywood became a totally different place. Suntans were not interesting to anybody. But they were to me because I’d gotten used to it. For me it’s like plugging into a battery. I feel like I get a sense of optimism from sun.” A couple of months ago Hamilton found himself on the cover of the National Enquirer, which reported that after decades of sunbathing he was battling skin cancer. He says that was not true, that he routinely has pre-cancerous spots removed, but that he has never had skin cancer. George Hamilton (Photo by Paul Kolnik) The tan became his trademark, and in the 1980s he even launched his own company that sold skin-care products, including one with a bronzer. He also owned nightclubs and restaurants as well as cigar and coffee companies. He sold them all. “To watch after all that stuff, it’s exhausting, and it took a lot of time,” he says. “When you get older time is more important to you than money. You don’t want to waste your time doing things that you’re not enjoying doing.” He has enjoyed himself, he says. And looking back on it, he says, it’s hard for him to believe. In an interview by Chris Harrison on “Hollywood 411” after Hamilton’s memoir “Don’t Mind if I Do” came out in 2008, Hamilton said: “When you come to Hollywood you get to know another world, which is not real. And all of a sudden a decade goes by, and you think it’s my turn to leave … And then another decade goes by and another. In my case it’s been five decades … For some reason I just keep hanging out.” Harrison asked him about one of the pictures in the book — Hamilton as a boy of 6 looking pensively past the camera lens. Harrison asked jokingly what Hamilton was thinking. “I was thinking then,” Hamilton said, not missing a beat, “I’d like to play polo and have a yacht. and maybe drive a Bentley and have a really hot-looking chick.” Harrison asked: “How’d that work out for you?” “Pretty good so far,” Hamilton said. At a glance LA CAGE AUX FOLLES Where: Proctors, 432 State St., Schenectady When: Wednesday through Sunday; 2 p.m. performances Thursday, Saturday and Sunday; 8 p.m. performances Wednesday through Sunday Tickets: $20 to $70 Info: 346-6204; firstname.lastname@example.org; http://www.proctors.org
The timeless George Hamilton finds the perfect role in "La Cage aux Folles," at Proctors Theatre Oct. 26 through Oct. 30 Published: Wednesday, October 19, 2011 http://saratogian.com/articles/2011/10/19/entertainment/doc4e9f7bb52d28d... By BOB GOEPFERT email@example.com Click to enlarge SCHENECTADY — In an example of perfect casting, George Hamilton will appear in the musical “La Cage aux Folles” at Proctors Theatre Wednesday through Sunday of next week in the role of Georges, the charming owner of a glitzy nightclub in Saint-Tropez. The fact that the character is gay doesn’t lessen his image as a debonair and charming man. In fact, Hamilton doesn’t want the public to attend “La Cage” thinking it is a show about two gay men. “This is a work that is about family values and strong relationships,” he said. “I think people should attend as families.” Hamilton is a Hollywood legend who has been making films for more than 50 years, and audiences are very important to him. “My relationship with my audience is what’s kept my career alive,” he said. “I am driven by the fear that one day I might do something to let them down. They’ve stuck with me for a long time, and that’s rare in the United States. It was Cary Grant who told me, ‘If you don’t make a picture at least every three years, the audience will forget you.’ ” Hamilton says the only way you can have longevity in film is to take chances. He started out as an MGM contract player taking debonair roles. “They molded my image. They dressed me in expensive clothes and insisted I go out evenings and party,” Hamilton said. “They even provided me with money so I could tip well. As long as I got my name in the paper, they were happy.” As a mature actor, he was not afraid to parody his image and starred in films like “Zorro the Gay Blade” and “Love at First Bite.” Recently, he charmed America with his appearance on television’s “Dancing With the Stars.” “It was staggering to realize 20 million people were watching me dance,” he said of the experience. Even though Hamilton has constantly reinvented himself, he is always self-effacing about his image. He recalls making a public appearance with George Peppard, and someone asked the intense actor if he was a movie star. “George responded kind of gruffly saying, ‘No I’m an actor.’ ” The person looked at me and asked if I was an actor, too. I responded ‘No, I’m a movie star.’ ” Hamilton laughed as he recalled the incident and said “Peppard got mad, thinking I was making fun of him. What he never realized was the public wanted him to be a movie star, and you have to give the public what they want.” Though his acting seems effortless, Hamilton said he’s worked hard to hone his craft. “I’ve always thought of myself as a natural comedian, but I knew as an actor I had to learn how to make a line funny. The studio didn’t like it, but in the early days I used to go out and do dinner theater — the kind with my name listed just above the roast beef. I learned comic timing in front of an audience.” Though he is 72 years old, he refuses to be judged by chronological age. “It’s all about the spirit, and the spirit doesn’t grow old,” Hamilton said. “The secret to staying vital is how you look at things.” For example, he said that as some people age, they get a pain in the hand and attribute it to arthritis. “Me, I think it’s from grasping for a drink,” he said. WHERE: Proctors Theatre in Schenectady WHEN: Wednesday, Oct. 26, through Sunday, Oct. 30 MORE INFO: Call 346-6204 or go to www.proctors.org
http://saratogian.com/articles/2011/10/19/entertainment/doc4e9f7cbe50600... Published: Wednesday, October 19, 2011 More Photos Click thumbnails to enlarge Click to enlarge Weekender content coordinator Bob Goepfert offers his picks. Exciting dance SCHENECTADY — This is an important week for dance in the region as Proctors hosts two shows that have national and international credentials. Friday evening, the new show “Angel Reapers” will be performed at Proctors in Schenectady. The work is a fusion of dance and theater and is a major event in the world of dance. After it leaves Proctors, it will play a couple of colleges before a week-long run in Boston and a two-week engagement at the Joyce Theater in New York City Nov. 29 to Dec 11. “Angel Reapers” is a collaboration between genius choreographer Martha Clark and Alfred Uhry, who won the Pulitzer Prize for “Driving Miss Daisy.” Every project Clark and Uhry work on individually is important, but when they work together, it is major. The material is also compelling and of special interest to this area. “Angel Reapers” is about the life of Anne Lee, a co-founder of the Shaker cult. Because the Shakers practiced celibacy, the work has built-in sexual tensions. Indeed, there is a scene with nudity that might not be appropriate for young audiences. Adding more dance excitement to the week is tonight’s “Radio and Juliet” at Proctors. It’s a ballet that unites Shakespeare’s famous love story with the music of the contemporary band Radiohead. Any other week, “Radio and Juliet” would be the main event. For information, call 346-6204 or go to proctors.org.
They didn’t do it: Angel Reapers explores the Shakers’ forbidden fruit October 19, 2011 at 3:42 pm by Michael Janairo, Arts & Entertainment Editor 1 of 13 | Share Angel Reapers Follow link for 13 images: http://blog.timesunion.com/localarts/they-didnt-do-it-angel-reapers-%E2%... Martha Clarke and Alfred Uhry's "Angel Reapers" American Dance Festival in Durham, N.C.(Photo by Sara D. Davis/ADF 2010) (Sara D. Davis/ADF 2010) By Michael Eck, Special to the Times Union Alfred Uhry is the rare playwright to have won the Academy Award, the Tony Award and the Pulitzer Prize for drama. The Atlanta-born author of “Driving Miss Daisy” is also known for plays like “Last Night of Ballyhoo,” musicals like “The Robber Bridegroom” and screenplays like “Mystic Pizza.” Martha Clarke is the MacArthur Award-winning director/choreographer best known for dazzling dance theater pieces like “In The Garden of Earthly Delights.” Mother Ann Lee is the long-dead but very well remembered leader of the Shakers. The settlement she founded in Colonie is an important site not just locally, but globally, as the seat of a unique religion that, despite its foibles, granted equality to the sexes long before others did. The three come together Friday at Proctors in the guise of “Angel Reapers,” a multidisciplinary performance piece that riffs on the sexual repression of the celibate sect while making use of the Shakers’ vocal music and namesake movements. At a rehearsal in a New York City loft a few weeks ago, Clarke ran her troupe through a few of its paces, while still, pardon the pun, shaking out some of the details of the piece’s scenes. What was amply evident is that Uhry — who based some of “Reapers’” text on actual Shaker testimonies — and Clarke have created a distinctly modern vision of an archaic yet restlessly fascinating group of true believers. Key to Clarke and Uhry’s conceit is that the Shakers didn’t do it. Mother Ann, history says, has a sad history of childbirth, littered with stillborn children and babes who died young. Partially in response to that tragedy and partially due to her own pre-existing squeamishness about sexuality, she forbade marriage, cohabitation and what the Baptists might call dancing. She couldn’t forbid the urge, though, could she? “Angel Reapers” posits that the forbidden fruit is sweeter than that of any other tree. In a remarkable sequence performed during a New York City rehearsal, two dancers, fully clad in a slightly chilly but sunlit room, created more taut, bristling, hot sexual energy than anything you can find for free on the web before you clear your history trail. What made the moment more incandescent was the way Clarke’s other dancers moved about the space and the couple, suggesting admiration, disgust, envy and pity in equal doses. Another moment belonged to Uhry, with the cast in a long row, like a police lineup, reciting Shaker incantations about femininity and feminism in varying tones. The same words came from each mouth, but the intonation of each tongue, the body language beneath the sounds, told different stories. One would well imagine that in actual performance the effect is shattering. That Proctors is offering “Angel Reapers” — for one night only, mind you — on the Mainstage, is not only daring, it’s also something of a dare, asking the same audience that buys tickets to Broadway big guns like “The Lion King” and “Wicked” to step up and support new art that is still in progress and motion. Clarke — whose mothering of her two Pomeranians at the New York City rehearsal was comical — will be at Proctors and discuss the continuing creation of ‘‘Angel Reapers’’ at an informal talk after the 8 p.m. performance. Despite the dogs, it was clear in the rehearsal space that Clarke can afford to be a bit distracted. She knows what she’s doing, and she understands that art is, if anything, improvisation. At that early stage, the dancers were still exploring, still finding meanings in the rhythms of the Shakers and in the simplicity of their chairs and their lifestyle — a sturdiness meant to outlast themselves. The best known Shaker hymn, composed in Maine and included in the show, says, “’Tis the gift to be simple, ‘Tis the gift to be free, ’Tis the gift to come down where we ought to be, And when we find ourselves in the place just right, ’Twill be in the valley of love and delight.” Reap that. Michael Eck is a frequent contributor to the Times Union. Stage Notes “Angel Reapers” When: 8 p.m. Friday. Contains nudity (brief and dimly lit). Where: Proctors, 432 State St., Schenectady Tickets: $20-$65 Info: 346-6204; http://www.proctors.org Note: Contains brief nudity; performance recommended for those 15 and older Theater talk: Choreographer-director Martha Clarke will give an informal talk after the 8 p.m. show Friday at Proctors.
Philip Morris CEO of Proctors, Schenectady About Proctors What’s a MOHU? http://blog.timesunion.com/philipmorris/whats-a-mohu/665/ October 16, 2011 at 10:07 pm by Philip Morris So, here it is, Sunday night, the end of the first effort to focus on the arts in the Capital Region? A success? Absolutely. Numbers aren’t in, but just at Proctors more than 15,000 folks participated. More than counts, the organizers are at the Egg to look at each other and to smile at the small miracle that just happened. Will readers wonder what I am talking about? Yes, some will. MOHU may have blown right by your periphery. I totally understand. We, meaning 50 arts groups, did this thing with no resources but our wits. Some critiqued it as “top down,” a humorous thought in the age of Occupy Wall Street. Some thought there was simply not enough promotion, a justifiable critique. But consider: at simply our little closing reception there were arts folks who, only a year ago, did not know each except by name. We now tip a glass of wine, absorb the critiques, and look forward to debriefing. Was MOHU a success? How could it not be? Just the care about one another made it so. Not to mention that there were more than 50,007 participants and we are still counting!
A Spooky Fundraiser at Albany’s Historic Ten Broeck Mansion To Benefit Education Initiatives at Capital Rep ----- Veteran stage, TV and screen actor Kent Burnham as Poe Albany, NY – October 17, 2001 -- Capital Repertory Theatre will perform Pure Poe: Three Tales of the Macabre by America’s Master Storyteller at a special benefit performance on Saturday, October 22, 2011 at 7:00 p.m. at Albany’s historic (and haunted!) Ten Broeck Mansion, 9 Ten Broeck Place, Albany, New York. The one-hour performance will include a wine and cheese reception, and all proceeds will benefit Capital Repertory Theatre’s education programs for schools in need. The stately Ten Broeck provides the perfect setting for the eager ghost of Edgar Allan Poe to retell his famous poem, The Raven, and stories The Tell-Tale Heart and The Masque of Red Death as he muses and laments the inspirations from his own life. Lost loves, mad murderers, and a prosperous prince attempting to defy death and doom: Poe’s characters propel the plot and Capital Repertory Theatre artists combine the power of theatre and literature to explore the idea of remembrance, embrace the power of words, and celebrate the storyteller. Portraying Edgar Allan Poe’s ghost is veteran stage, TV and screen actor Kent Burnham. Mr. Burnham has appeared in The Crucible and To Kill a Mockingbird at Capital Rep. Pure Poe is directed by Capital Rep’s Producing Artistic Director Maggie Mancinelli-Cahill, who adapted the play from Poe’s works. The performance is dedicated to the memory of the late Miriam Netter, a beloved Capital Rep Trustee, whose commitment to arts education supported the theatre’s programming for over a decade. The production launches the 13th year of Capital Rep’s On the Go school tours, which brings curriculum-based theatre works directly into schools across the Capital Region. The Ten Broeck Mansion fundraising production of selections from Pure Poe is part of a sold-out school tour that runs until October 28. No other public performances are scheduled and the benefit will provide the only opportunity for the general public to see this exciting performance event. Tickets On Sale Now Tickets for the Pure Poe Mansion event are $45 in advance by calling 518-445-SHOW (7469). No tickets will be sold at the door. Seating is limited to 60 persons only. It is appropriate for ages 10 and up. About the Mansion The mansion was built in 1797-’98 to house General Abraham Ten Broeck and his wife. The Federal style home was built on 5 acres in the Township of Watervliet. The home was graced with sloping lawns and formal gardens and named "Prospect." Over the next 30 years, the character of the house changed. It was refurbished and renovated in the then-fashionable Greek Revival style. Thomas Worth Olcott purchased the residence in 1848 and renamed it Arbour Hill, after the surrounding area which today is an Albany neighborhood known by that name. CONTACT For more information on the Ten Broeck Mansion fundraiser for Capital Rep, contact Laura W. Andruski Education Coordinator Capital Repertory Theatre PO Box 1985 Albany, NY 12201-1985 p. 518.462.4531 x410; firstname.lastname@example.org www.capitalrep.org.