Proctors: On & Off Stage 'MasterMinds' production team met the challenge By Richa Khandelwal Bhat May 4, 2011 The producer of the "MasterMinds" quiz show explains the behind-the-scenes work that brings the show to life. 'MasterMinds' production team met the challenge By Richa Khandelwal Bhat Wednesday, May 4, 2011 ________________________________________ Those modest questions that get gossiped about -- “The kids didn’t know the answer to that?!” -- yeah, well, I wouldn’t know answers to those either. But, of course, as wisdom guides, it’s best to raise eyebrows with everyone and disapprove of ignorance on the sets of "MasterMinds" quiz show than to be too honest. Clearly, for me to produce "SCCC presents MasterMinds," Proctors’ quiz show spanning over 15 one-hour episodes, was quite a challenge. Thankfully, Scott Kroner and the brilliant team at "MasterMinds" owned responsibility for the 18-minute quizzes, the key component of the hour-long show. They worried about the questions, answers, rules, scoring, and all that complex stuff that makes a quiz show production a daunting task. I got to play with the frills, as my job was to package the 18-minute quiz into a TV show. It was like designing a goodies box, a combo meal package. On the plate was plain cheese pizza. I had to add five extra toppings, serve it with a pina colada and a cupcake with coconut frosting and sprinkles. You might say, “Well that’s easy enough!” I’d reply, “Well, come into my kitchen, see for yourself.” Not easy; hell no. Not when it’s your first real job in the United States, first three months into the job, first time producing a quiz show, first time with a crew consisting mostly of volunteers, and first time your employer produced a TV show of this scale. Reputations were at stake. It was a do or die. And I didn’t die, thanks to Richard Lovrich, art director extraordinaire at Proctors. I pitched to him my initial idea for the look of the show. He knew me only briefly, but agreed to ride the dream wave. He got the Albany Times Union, Paul Mitchell The School and Mohawk Sign System involved in the show, and the result, as viewers will see, is gorgeous. The huge panels on the set are Richard’s creation and so are some smart ideas that give the show that cool, techno edge. See full story at: http://www.dailygazette.com/weblogs/proctors-stage/2011/may/04/mastermin...
This show is a must see. It captures a turbulent time in American history like no other. Hair! At Proctor's http://www.didyouweekend.com/hair-at-proctors/ Posted by rich on May 3, 2011 Featured, New York, Theatre May 032011 Hair! www.proctors.org Hair debuted at Proctor’s tonight, impressing an audience with an incredible journey back to the sixties. This show is a must see. It captures a turbulent time in American history like no other. Part laughter, part sadness, part free love, all sing along, it will dazzle you from beginning to end. There is simply never a dull moment. Your favorite songs are here, sung by an extremely capable array of singers. The cast does not just consist of one or two strong singers–they’re all strong, creating an ensemble of great voices singing great songs. But never far from the acts of simulated free love, the 20 seconds of nudity, and the free spirit of yesterday’s hippies, is the reality of what created the sixties in the first place: A war that no one was happy with, and one which the American conscience still wrestles with today. As one actor put it: “Vietnam is about the white man sending the black man to fight the yellow man to save the land they stole from the red man.” The audience cheered. There was humor, too, and lots of it, but I won’t spoil the surprises. Do not take your kids to this show. Remember, the sixties were about free love, and that is expressed in full here. I loved Hair from beginning to end. A generation of new hippies singing to the original old hippies. Audience participation was high no matter where you sat. From the website: “The Public Theater’s new Tony-winning production of HAIR is the most electric celebration on Broadway! This exuberant musical about a group of young Americans searching for peace and love in a turbulent time has struck a resonant chord with audiences young and old. “HAIR features an extraordinary cast and dozens of unforgettable songs, including “Aquarius,” “Let the Sun Shine In,” “Good Morning, Starshine” and “Easy To Be Hard.” Its relevance is UNDENIABLE. Its energy is UNBRIDLED. Its truth is UNWAVERING. It’s HAIR, and IT’S TIME.”
Hair @ Proctors, 5/3/11May 4, 2011 at 12:01 am by Michael Eck by Michael Eck Special to The Times Union SCHENECTADY – The best, perhaps the only, reason to visit the current touring production of “Hair: The American Tribal Love-Rock Musical” at Proctors is nostalgia. Rarely has a show seemed so deliriously dated as this one. When it debuted on Broadway in 1968, “Hair,” despite its virtually nonexistent plot, seemed of its time — a portrait of a movement, a portrait of a moment. The same could be said of “Rent.” When it hit the Great White Way in 1996 it was a snapshot of a similar wedge of New York, 20 some years later. But “Rent,” unlike “Hair” is a document. The story has a genuine arc that captures its era. In that regard it’s closer to “West Side Story” than it is to “Hair.” “Hair,” when you come right down to it, is a bunch of hippy monkeyshines. Still, the production taking the stage — and the aisles, so keep your feet in! — at Proctors is fun in a big, bright way. And the handful of classic songs in the score will prompt a smile even amongst curmudgeons with notebooks. The show begins, of course, with “Aquarius,” a generational anthem if there ever was one. The “tribe,” otherwise known as the ensemble, does a fine job surrounding Phyre Hawkins’ Dionne with good vibes and big harmonies. That pattern hold true throughout the show, and the kids in the cast do create a family feel. They touch each other almost as often as they touch people in the audience. (If you don’t like having your hair tousled, don’t sit within the first ten rows). Many of the songs — with music by Galt MacDermot and lyrics by Gerome Ragni and James Rado — are eminently forgettable little set pieces meant to define a character or make a statement. Others — like “Aquarius” and the closing sequence of “Let The Sun Shine In” — are strong enough that they became hits in their own right outside of the show. A medley of the latter pair, for example, was a number one single for The Fifth Dimension; Three Dog Night struck gold with “Easy To Be Hard;” and Oliver took “Good Morning Starshine” to the top of charts. At Proctors, Caren Lyn Tackett, as Sheila, sings “Hard” and “Starshine.” Almost more than anyone else in the cast she embodies the ethic of the show, and she has a passion that shows through, even trumping the often overloud but very groovy band. Steel Burkhardt is hunky and free as lead tribesman Berger — the role created by Ragni. Paris Remillard is a good foil as Claude, the moral center of what little tale there is. And Josh Lamon and Allison Guinn are funny in a variety of smaller roles. “Hair” is dated, but if you’re of the right age it will take you back. If you’re not, it just might take you aback. HAIR Performance reviewed: 8 p.m. Tuesday Where: Proctors, 432 State Street, Schenectady Running time: 2 hours, 40 minutes. Continues: 8 p.m. Wednesday through Saturday; 2 p.m. Thursday, Saturday and Sunday. Tickets: $20-$70 Info: 346-6204; http://www.proctors.org
The new age of Aquarius 'Hair' makes a stop at Proctors before returning to Broadway http://www.timesunion.com/entertainment/article/The-new-age-of-Aquarius-... By Michael Eck Special to the Times Union Published 12:01 a.m., Thursday, April 28, 2011 1 of 2 View: Larger | Hide Gavin Creel as Claude, Bryce Ryness as Woof, and the cast of the Broadway revival of HAIR: The American Tribal Love-Rock Musical directed by Diane Paulus and choreographed by Karole Armitage. HAIR features a book and lyrics by Gerome Ragni and James Rado and music by Galt MacDermot. Now performance at the Al Hirschfeld Theatre (302 West 45th Street, NYC). Photo credit: Joan Marcus. Everything old is new again. "Hair," that quintessential signpost of '60s culture, comes to Proctors this week, on a path that will take it back to Broadway this summer. In an eminently practical and well-practiced way, co-creator James Rado says "Hair" fits into the scheme of 2011 "the same way it fit into 2009," when the property last hit New York with its message of peace, free love and flower power. More seriously, he notes that the play does address "the background of war in our society. It's very reminiscent of the Vietnam era right now." Rado and co-writer Gerome Ragni were young actors doing their best to make a go of it in Manhattan when they met in 1964, while in the cast of "Hang Down Your Head and Die." As they got to know each other, they noticed a rising cultural tide. Hippies were in bloom and New York was changing. "There was a lot of political unrest in the streets," Rado says. "A lot of shouting and marching and posters and banners. A lot of foment in the parks. And there was also the offbeat, eccentric element of the Be-Ins, where people dressed in exotic attire." "The war protests, the civil rights movement and the hippie thing were all happening at the same time, and we brought them all into our show." Rado and Ragni infiltrated the scene in an effort to glean themes, ideas and images for their "American Tribal Love-Rock Musical." "The things that were going on around us were startling and thrilling. We thought the core of it all could be meeting the hippies." "Gerry didn't even have long hair at the time," Rado, now 79, says of Ragni, who passed away in 1991. "We let our hair grow later." The duo enlisted composer Galt MacDermot. They wrote the book and lyrics, while McDermot dreamed up the indelible melodies to classics like the title tune, "Easy to Be Hard," "Good Morning Starshine" and "Aquarius/Let The Sun Shine In." The latter found new life outside the show as a No. 1 hit for The Fifth Dimension. It also became a sort of defining anthem for a generation. Rado, while still an aspiring actor, had harbored "notions of writing a musical," he says, "but I'd never had the opportunity up to that point." Now, with "Hair," he had a hit on his hands and all of the bright lights of fame that went with it. But neither he, Ragni nor McDermot were ever able to top that early success. "It was very gratifying, but it was also emotionally disturbing," Rado says. "I can't even go into it. I'll write a book about it someday. It wasn't all the overwhelming joy you might imagine success to be." In the original Broadway production, Rado played the role of Claude, a "tribe" leader struggling with the draft. Ragni played Berger, a free spirit and "psychedelic teddy bear." How much of the men's own personalities were in their characters? "100 percent. I identified completely with the messages that we were coming from the hippies and the anti-war movement. Gerry was the very embodiment of Berger, wild and outgoing in the best sense of the word. People loved him. The person we initially modeled Claude after was a little more like me, a little more sensitive, a little more spaced out." Rado almost sounds surprised that "Hair" will be making its way back to Broadway so soon, and in such a big way. "We've got an opening night and everything. We're even going to be reviewed again." Michael Eck is a frequent contributor to the Times Union. On stage "HAIR" When: Opens 8 p.m. Tuesday Where: Proctors, 432 State St., Schenectady Continues: 8 p.m. Wednesday through Saturday; 2 p.m. Thursday, Saturday and Sunday. Through May 8. Tickets: $20-$70 Info: 346-6204; http://www.proctors.org
Kingdom of the Shore @ Capital Repertory Theatre, 4/27/11 http://blog.timesunion.com/localarts/kingdom-of-the-shore-capital-repert... April 27, 2011 at 11:13 pm by Michael Eck By Michael Eck Special to The Times Union ALBANY – No one will mistake “Kingdom of the Shore” for a feel-good play. Wave after wave of sibling dysfunction washes over the Moloney sisters in the world premiere of Terence Lamude’s two-act family drama at Capital Repertory Theatre. If Lamude’s name sounds familiar, it’s because he’s been directing at the downtown venue for fifteen years. These days he’s entering into a new career phase as a playwright and “Shore,” which takes its name from a passage in a Shakespearean sonnet, is an auspicious start. The Moloneys — Delia (Lisa Bostnar), Joan (Jodie Lynne McClintock), Clare (Leigh Strimbeck) and Cathleen (Mhari Sandoval) — gather each summer at the old manse in Southampton, mostly to grumble and bitch at each other. This summer they’ve had an attractive offer on the house, which makes their endless squabbling even more unattractive because money is involved. None of the Moloneys are poor, and, in fact, Lamude has stated that one of his goals with “Shore” was to write something about successful Irish Americans. But money and family don’t mix in any ethnicity. Lamude has, as noted, directed a lot of plays, and that experience has given him an ear for dialogue. Often the words in “Shore” flow effortlessly. Often the mundane dialogue is fascinating in the way it swims past with a genuine realism. Other times, though, the chatter drowns in odd constructions. Even rich folks don’t actually say things like “I’m going to can that callow little churl.” Lamude, not surprisingly, doesn’t direct this play. His frequent employer, Capital Rep Producing Artistic Director Maggie Mancinelli-Cahill does. She brings her usual strong hand to the proceedings. Lamude’s script asks for lots of offstage sound design (well-executed by David Thomas), but the noises of birds, the neighbors’ kids and revving engines distract more than they add. The audience could accomplish all of that work in its imagination just fine. Mancinelli-Cahill’s cast is very strong, filled out by Steve Fletcher as Delia’s husband, Nick, and James Judy as Clare’s husband, Worth. Even in the occasionally stilted speeches each makes their character full and believable. Fletcher’s frustration in the second act with both Delia and Cathleen is great theater, flinty, tight and angry. Lamude has a real knack for reversals, he turns some of these characters around in a moment. He also leavens the drama with comedy, but it’s only in those moments that he really feels at sea. Some of the jokes are just too thin to catch. Wednesday’s intimate opening night audience seemed entranced by the action on the Moloney porch (designed by Vaughn Patterson), and that’s a good thing. “Kingdom of the Shore” could still use some tuning, but it is a very impressive effort and — with its strong roles for older women — it should find a home in regional theaters hungry for new works and classic family squabbles. KINGDOM OF THE SHORE Performance reviewed: 7:30 p.m. Wednesday Where: Capital Repertory Theatre, 111 N. Pearl Street, Albany Running time: 2 hours, 30 minutes; one intermission. Continues: 7:30 p.m. Tuesday through Thursday; 8 p.m. Friday; 3 and 7:30 p.m. Saturday; and 2:30 p.m. Sunday. Through May 15. Tickets: $28-$53 Info: 445-7469; http://www.capitalrep.org
Jazz on Jay, Presented by the ElectriCity Arts & Entertainment District and the Schenectady City Heritage Area Contact: Karen Johnson, 382-3884 x 114 JAZZ ON JAY OFFERS FREE SUMMER CONCERTS IN DOWNTOWN SCHENECTADY Jazz on Jay returns to downtown Schenectady for its 17th season of free outdoor Jazz concerts on Thursdays from June 3 to August 26 from noon to 1:30 p.m. The series features a variety of well-known regional musicians sponsored by the ElectriCity Arts and Entertainment District and the City of Schenectady Heritage Area. Financial support comes from the County of Schenectady, the New York State Council on the Arts (decentralization funds through The Arts Center), Schenectady Musical Union 85-133, the Downtown Business Improvement District and the Jay Street Business Association. The rain location for Jazz on Jay is Robb Alley at Proctors. Season Calendar June 23 – Alan Payette Quartet June 30 – The Terry Gordon Quintet July 7 – Ten 27 July 14 – Steve Lambert Sextet July 21 – Keith Pray Quartet July 28 – Hi Fly with Frank Loscavo August 4 – Norm Frederick August 11 – The Frank Capri Show August 18 – Paul Mastriani & Son with Jim Corigliano August 25 – The Dylan Canterbury Quartet July 15 sponsoring Elizabeth Woodbury Kasius & Heard at Schenectady County Summer Night June 2 – Colleen Pratt From: http://www.colleenpratt.com/about.htm The product of a musical family, Colleen is the daughter of musicians Helen and Norman Pratt and the niece of well-known jazz man Bobby Pratt. Colleen often devotes her full, rich vocals to the swing and jazz idioms, but also enjoys singing contemporary ballads, pop and Motown. Colleen is in demand as a guest performer with many other popular area bands. She often teams up with jazz pianist Peg Delaney and on many occasions with Doc Scanlon. Colleen is proud to be the current vocalist with the Empire Jazz Orchestra. This 19-piece band is featured on her latest recording, "I Thought About You". Colleen also shows her versatility by performing occasionally as a member of the enormously popular vocal group, Jazz Voices, with Teresa Broadwell and Jody Shayne, accompanied by Peg Delaney, Otto Gardner and Bob Halek. Other highlights of Colleen's satisfying 30-plus year career as one of the most in-demand artists in New York's Capital District include: · Opening act for Bob Newhart during his last two engagements at Proctor's Theatre · Appearances for four consecutive years at the Cazenovia Jazz Festival ("Jazz-N-Caz") · Featured vocalist for over six years with the preeminent Big Band in the area, the Empire Jazz Orchestra · Recent recipient of Swingtime Jazz Society "Lifetime Achievement Award", shared with that year's co-recipient Helen Pratt (Colleen's mom) · Two CDs recorded with Colleen Pratt & Friends (for more information, click here). · Releasing in April 2007 her third CD, "I Thought About You", which celebrates the music of the Big Band era, featuring the Empire Jazz Orchestra. . June 9 – Tim Olsen Quartet Tim Olsen is active as composer, performer, and educator. Born in 1961 in St. Paul, Minnesota, his early training involved playing trumpet in marching, concert, and jazz bands. Olsen began writing and arranging for these groups and picked up piano by ear. He went on to earn a Bachelor of Music (summa cum laude) in music theory and composition from Washington University in St. Louis (1983), a Master of Arts in music theory and composition from the University of Minnesota (1985), and Master of Music (1988), Master of Musical Arts (1989), and Doctor of Musical Arts (1995) in composition from Yale University. As a Fulbright Scholar in 1990-91, Olsen studied with composer Ib Nørholm at the Royal Danish Conservatory of Music in Copenhagen. Olsen joined the faculty of Union College in Schenectady, New York in 1994. He is currently Associate Professor of Music and director of the Union College Jazz Ensemble. He teaches courses in the music and culture of the United States, Latin America, and Africa; music theory; and jazz improvisation. As a jazz pianist and trumpeter, Olsen has played in concert, club, and private venues throughout the United States and in Denmark. The Tim Olsen Band varies in size from a quartet to an 18-piece big band. He also regularly plays piano with the Albany-based Joey Thomas Big Band, for whom he has produced over 60 arrangements and original compositions. In 1995 Olsen became Director of Music at St. Stephen's Episcopal Church in Schenectady, where he plays the organ and directs the Adult Choir. June 16 - Jim Wilson Quartet Jim Wilson leads this jazz quartet. Playing guitar, he will be joined by Scott Bassinson on keyboards, Ed Tourge on bass, and Bob Halek on drums. A graduate of Plattsburg State, he has played for Plus 24 in the 80’s, and with Jim Hughes in the 90’s. He is currently a sideman with Keith Pray’s Soul Jazz Revival as well as being a guitar instructor at Schenectady County Community College. June 23 - Alan Payette Quartet Guitarist Alan Payette will lead this jazz quartet with Steve Aldi, bass, Gene Garone, drums and Frank Roselli, Saxophone. Payette is also the leader of the 7 piece Alan Payette Band, a party band like no other in the area that personifies the best an act has to offer: a dynamic stage presence, unique original music and the hits of the 60’s, 70’s, 80’s, 90’s. His versatility will be shown with this smaller jazz group at Jazz on Jay. June 30 – Terry Gordon Quintet The Terry Gordon’s Quintet’s creative, adventurous approach to original music has been a hallmark for the band since its inception. The unified group sound springs from the experienced, creative players that make up the quintet, who not only have written the compositions featured by the group, but also thoroughly enjoy bringing that material to life in the company of one another, and for the enjoyment of Jazz audiences everywhere. With their third CD release, Homeward Bound and the receipt of a New York State arts grant for composition, the Terry Gordon Quintet has successfully established in their first two releases: Contemplations and Wakeup Call. With the combination of creative players and unique original compositions the Terry Gordon Quintet has created its own distinctive brand of musical excitement. Terry Gordon (trumpet, flugelhorn, leader, composer) is a graduate of Houghton College and Mansfield University. Terry performs regularly with Alex Torres y Su Orguesta, including appearances at the Montreal and Rochester International Jazz Festivals. He also performs regularly with the Empire Jazz Orchestra, Keith Pray’s Big Soul Ensemble, the Matthew Maguire Quintet and the Arch Stanton Quartet. He has appeared in programs with Bobby Rydell, Leslie Gore, The Four Freshman, The Temptations, Benny Golson, Jimmy Health, Slide Hampton, Randy Brecker, and David “Fathead” Newman. His recording credits include releases with the Terry Gordon Quintet, Alex Torres y Su Orquesta, the Empire Jazz Orchestra, Colleen Pratt, Keith Pray’s Big Soul Ensemble, the Joey Thomas Big Band and Brass-o-Mania. He will appear with Eric Walentowicz (tenor and soprano saxes, flute, composer), Bill Lawrence (bass, composer), and Matthew Maguire (drums, composer). July 7 – TEN27 Ten 27 is not your typical jazz trio by any standard. The instrumentation alone sets this gritty trio from the commonly heard jazz music of today. The electric cello is a bold addition to the jazz trio form. This instrument screams contemporary as well as adding an unusual color and texture to the group. Utilizing a staple of 1970s progressive jazz, the Fender Rhodes and Wurlitzer electric pianos are yet another interesting twist not expected at first listen. In the compositions, the combination of electric and acoustic pianos battle in a harmonic duel for balance and grace. All of these elements along with powerhouse Rhythm and Blues drum stylings, make for an aural vacation from the ordinary. The influences of traditional jazz, progressive jazz, R&B, classical, and gospel do not necessarily stand independently in the compositions. Rather, they blend together for an alarmingly fertile and sometimes entrancing sound. Michael Roach is a strong composer in his own right as is Monica Wilson-Roach. However, the most moving and engaging pieces spring from the synthesis of their collaboration. With the addition of Paul Borrello's' strong backbeat and intricate rhythmic patterns, tempered with the sensitivity of gospel drumming, the trio shines in its brightest light. Michael Roach received formal training in classical and popular piano as a youngster. He has performed in many venues playing Rock, Pop, Classical, Rhythm and Blues, Jazz, and has worked in many formats. Michael has performed at The Whitney Museum of American Art, Symphony Space, Black Rock Coalition Festival, Black Expo and abroad. Some local venues include: 9 Maple Avenue, Stephanie's, and the new Pearl (formerly known as the Steuben Club). Monica Wilson-Roach has been playing cello and bass for over twenty years. She was on faculty at the Juilliard School and has performed in the Texaco New York Jazz Festival, the Documenta X in Kessel, Germany, the Jazz and Bluesfest - Live from Wolftrap, and the Brooklyn Academy of Music performances of Donald Byrd's Jazztrain with Grammy Award winning artist Vernon Reid. The list of venues include: the Knitting Factory, Merkin Hall, Alice Tully Hall, Carnegie Hall, and Lincoln Center out-of-doors. Currently, she conducts string ensembles and occasionally plays with the Trans-Siberian Orchestra, Albany Symphony Orchestra, and the Glens Falls Symphony Orchestra. Paul Borrello has been playing music since the age of seven. He studied music at the Berklee School of Music in Boston, received an Associates degree from Schenectady College and received a Bachelors degree from Saint Rose. He is currently working towards a graduate degree in music at Saint Rose. He has played drums with many players regionally including jazz guitarists Peter Einhorn and Mark Dziuba at the Hartford Jazz Festival. He is currently working with the John Savage Band, the Lab Trio, Night Train, and Ten 27. Paul also performs on vibraphone and has studied with Ed Saindon from Berklee School of Music, Jay Hoggard from Wesleyan and pianist Dan Dobek. Presently, he teaches drums and mallets at Drome Sound Music Studios in Niskayuna, New York. July 14 – Steve Lambert Sextet http://www.albanyjazz.com/musicians/stevelambert.html Steve Lambert, born and raised in Schenectady NY, has been playing trumpet professionally in the capital region for over 10 years. Early in his career he performed with and learned from some of the best musicians in the area including Nick Brignola, Mike Canonico, Rennie Craine, Mike Wicks, George Muscatello, and Brian Patneaude. Steve moved to New York in 1999 to pursue a Bachelors Degree in Mechanical Engineering from Columbia University, after which he worked in the office of Second Floor Music for two years as assistant to world-renowned jazz trumpet player/arranger/producer Don Sickler. While on staff at Second Floor, he interacted with such legends as Jim Hall, Renee Rosnes, Charli Persip, Ray Bryant, and Rudy Van Gelder, and worked on many SFM publications including "The Thelonious Monk Fake Book", "Sing Jazz!", and Charli Persipi's "How Not To Play Drums." Steve also freelanced around Manhattan, working at such jazz clubs as Kavehaz, Louis, and The Garage, and honed his chops while frequenting many jazz jams around the city including those at Smoke, The Lenox Lounge, Smalls, and Cleopatra's Needle. He returned to the Capital Region in 2003 where he enjoys playing with many of his old jazz friends, as well as freelancing in the show, commercial, and classical circuits. For Jazz on Jay he will play Trumpet and Flugelhorn with Keith Pray, Saxophone, Brian Patneaude, Saxophone, Dave Gleason, Piano, Lou Smaldone, Bass and Joe Barna, Drums. July 21 – Keith Pray Quartet North Country native saxophonist Keith Pray has been performing professionally since the age of 16. During his career, Keith has had the opportunity to perform in many different genres and with hundreds of professional groups. Keith has performed with Benny Golson, Mark Vinci, Temptations, Empire Jazz Orchestra, Alex Torres' Latin Kings, Cole Broderick Quartet, Caged Monkey, L.O.S. and many others. Beginning his saxophone studies at age 15, Keith went on to study music at Schenectady County Community College studying with Bill Meckley, Brett Wery and John Aasmunstad. After two years he transferred to the Crane School of Music (SUNY Potsdam) and studied with Robert Faub and Brett Zvacek. After receiving his degree, Keith began honing his skills in the Capital District. After 4 great years Keith decided it was time to move on to New York City. Living the last 3 plus years in Queens, Keith has finished his master’s degree in Jazz Performance at the Aaron Copland School of Music. It was here that he was able to study with Antonio Hart, Mark Vinci, Sir Roland Hanna, Michael Mossman and Todd Williams. Keith recently released his first CD under his own name entitled "Rhythm of the Blues". He is currently teaching and performing around the Northeast, including several regional festivals, most recently the Freihoffer's Jazz Festival at SPAC. Keith will play Saxophone at Jazz on Jay with Dave Gleason, Piano, Lou Smaldone, Bass, and Dave Berger, Drums. He will be teaching at Proctors’ Summer Adventure Jazz Institute for young people from July 18-29. His students will be able to join in hearing his professional group. July 28 – Hi Fly with Frank Loscavo Frank Loscavo has been playing professionally for 36 years. He began with the saxophone under Gerry Santy in college in Syracuse and studied classical music with Dr. David Abrahms. He continued college study with Joe Riposo and private study with Phil Woods during the 70's and 80's. His C.D. Frank Loscavo 'As is' was nominated for a Syracuse area music award. Loscavo has played rock, rhythm and blues, blues and, of course, jazz which is Loscavo’s main focus He plays regularly at Aperitivo Bistro in Schenectady August 4 – Norm Frederick Norman Frederick is a second-generation musician/band leader who has performed in various venues and with various bands for many years. He has performed with notables, including Dennis Yost of the Classics IV, Bobby Darin, Jerry Lewis, Don Jacoby, Joe South, Tiny Tim, Rodney Dangerfield, Tony Pastor and Russ Carlyle. A Schenectady native and resident, Norm began studying music at the age of twelve. He attended Nott Terrace and Niskayuna High Schools. During high school, he had his own seven-piece band and played in other professional bands in the area. He earned a B.S. Degree in Music Education at Austin Peay University in Tennessee and received a music fellowship for his graduate education. He has performed in several national advertisements, recordings and shows (including Barnum and Baily Circus) in Nashville. He was certified in music teaching from K-12 in Tennessee, Kentucky and Georgia. In Hopkinsville, Kentucky, he was the Director of the Marching Band. In the sixties, Norm’s band performed every Saturday for four years for General Westmoreland at the Officers’ Club, Fort Campbell, Kentucky. When he returned to Schenectady, he taught music at Schalmont for three years and at Bishop Gibbons for four years, before joining his father at Hermie’s Music Store, where he may still be found. Many prominent musicians worked at Hermie's and received encouragement from Norm. August 11 – The Frank Capri Show For Jazz on Jay, Frank Capri will play with Mark Anthony on Drums, Michael Lamkin on Keyboards, Eric Walentowicz on Saxophone and Rick Rosoff on Trombone. August 18 - Paul Mastriani Paul Mastriani is an active musician in the tri-city area of Albany, Schenectady and Troy, and now performs in the Sarasota and Tampa area as well. He has composed music for two musical reviews by The Schenectady Light Opera Company. He also composed music for Carmen Sgarlatta’s dinner theatre and played with the Gene James Trio for years with Dyanne Marlowe, Jeanette Oppedisana, and Bobby Massaro, Two of his bossa novas, "Time" and "Gotta Take Time" were performed in Carnegie Hall by the late Tony Zano. Mastriani and Jody Shayne released a CD "Love Is A Garden" in 1998. All of the songs are original, with Mastriani as composer and Shayne as lyricist. He will play Jazz on Jay with Jim Corigliano, an arranger and outstanding saxophonist and his son Paul J. Mastriani of Rochester who has played festivals in New Orleans and had many engagements in New York City and the Rochester and Buffalo area. (Add bass when recruited) August 25 – Dylan Canterbury Quartet Dylan Canterbury is recent graduate of the esteemed jazz studies program at SUNY Purchase. Trumpeter/composer/arranger Dylan Canterbury began his studies at the age of 8, and began playing jazz not long after. By the time he was in high school, Canterbury was already performing with a wide variety of groups, including the acclaimed Empire State Youth Jazz Ensemble and the NYSSMA Zone 7 Area All State Jazz Ensemble. In addition to performing locally with a number of youth honors groups, Canterbury was selected to be the lead trumpeter/soloist with the New York All State Jazz Ensemble, as well as being selected as a member of the All-Eastern High School Jazz Ensemble his senior year. While at Purchase, Canterbury was a member of the Purchase Jazz Orchestra (under the direction of Todd Coolman) and Purchase Latin Jazz Orchestra (under the direction of Ray Vega and Arturo O'Farrill). As a member of these ensembles, he has performed at the world-renowned Dizzy's Club Coca Cola (with the PJO) and Birdland (with the PLJO). While at Purchase, Canterbury studied privately under jazz trumpet greats Jon Faddis, Jim Rotondi and Ray Vega, in addition to working with other notables such as saxophonists Steve Wilson, Jimmy Greene, and Jon Gordon, trombonist John Fedchock, guitarist Randy Johnston, pianists Hal Galper, Pete Malinverni, and Charles Blenzig, and drummer John Riley. In addition to performing at Purchase, Canterbury has performed with the Grammy-winning Arturo O'Farrill and the Afro-Latin Jazz Orchestra, as well as being a member of the newly-formed Smoke Big Band, which performs weekly at the renowned jazz club Smoke each Thursday under the leadership of trumpeter/arranger Bill Mobley. In addition to these performances, Canterbury has been fortunate enough to share the stage with jazz greats Jon Faddis, Terrell Stafford, Eric Alexander, Jimmy Greene, Bob Mintzer, Ralph Lalama, Conrad Herwig, John Fedchock, Renee Rosnes, David Hazeltine, Bill Cunliffe, and John Riley. Locally, he has performed with Brian Patneaude, Adrian Cohen, Joe Barna, Lee Russo, Alex Torres and the Latin Kings, the Keith Pray Big Soul Band, and the Joey Thomas Big Band.
Bruce Springsteen The Promise: The Making of Darkness on the Edge of Town Saturday, April 23 GE Theatre at Proctors All Proceeds Benefit Proctors Schenectady, NY (April 22, 2011) --The Promise: The Making of Darkness On The Edge of Town combines never-before-seen footage of Bruce Springsteen and the E Street Band shot between 1976 and 1978, including home rehearsals and studio sessions with new interviews with Springsteen, E Street Band members, manager Jon Landau, former-manager Mike Appel, and others closely involved in the making of the record. Directed by Grammy- and Emmy-winning filmmaker Thom Zimny, The basis of the film is a collection of footage shot with Bruce & the E Street Band over the course of a dozen or so years, from roughly 1969 to 1980. The footage in this film was shot with a small camera modified with a low light level pick up sensor (a “tube” the size of a small cigar, CCD’s had not been invented yet). The Promise has received a rapturous critical response around the world, including at the 2010 Toronto International Film Festival, the BFI London Festival, and International Rome Film Festival. See this unique documentary at Proctors and support hometown cinema! "SPRINGSTEEN FANS, A PARTICULARLY KNOWLEDGEABLE & DEVOTED AUDIENCE, WILL BE MESMERIZED." - The New York Times "5 (OUT OF 5) STARS." - The Los Angeles Times "A REVELATION." - The Washington Post "EXTRAORDINARY. FASCINATING."- Rolling Stone This documentary is not rated.-Running Time 90 min. General Admission - $6 This is a special benefit, all proceeds go to Proctors Come – and discover what the buzz is all about. Share it with others. Proctors is located at 432 State Street, Schenectady, NY. Proctors Box Office: 346-6204. proctors.org – the best source for proctors movie information. Contact: For more information or questions about Movies at Proctors, contact Robert Warlock, Proctors Film Program Coordinator, 518-382-3884 ext. 128. See you at the show
Cap Rep stages world premier of ‘Kingdom’ http://www.troyrecord.com/articles/2011/04/21/entertainment/doc4db0a6a3c... Published: Thursday, April 21, 2011 By Phil Drew The Record Terrence Lamude has been a frequent director at Albany’s Capital Repertory Theater, and in a host of other prominent regional theaters, notably including Milwaukee Repertory Theater, Rochester’s GeVa Theatre, and the Cincinnati Playhouse — not to mention several off-Broadway venues and in Europe; But he has long harbored another aspiration. “I’ve been wanting to write for a number of years,” he says, “I’ve worked on a number of new plays as a director over the years, and two playwrights in particular with whom I’d collaborated suggest I write myself.” He’d undertaken to write a play several years ago, set in a theatrical milieu; “when I was done I sent it to some people I respected, but it really seemed like more of an exercise.” But now that long-time ambition to try his hand as a playwright is about to be realized in the premiere of his first fully-staged work, “Kingdom of the Shore,” opening Friday at Cap Rep. “This play kept crowding into my head,” he says. “It was a porch I’d seen in Southampton, Long Island, and I just wanted to populate that porch with people of all shapes and sizes.” The shapes these characters eventually assumed were a quartet of sisters, the Maloneys, just a generation removed from their Irish immigrant forebears’ ascendancy to the middle class. “The reason I chose Southampton particularly, is that it was a point of entry into society for the Irish,” he says. “Owning land is so much important to Irish people, who’ve had it taken away from them for so long. It was such a symbol of getting into the upper middle class. I wanted to tell that story.” Such newly-arrived climbers, Lamude observes, “tend to step on the fingers of people climbing the rungs of the ladder below them, not so much out of cruelty but to protect what they have.” But when the four sisters in his play inherit the beachfront home in which they grew up, “at the end of the rainbow they discover while fighting over property that the American dream can be not quite what it seems. The cottage harbors a lot of memories, lots of ghosts, lots of angst.” Lamude began work on “Kingdom” three years ago. “It’s gone through quite a number of drafts,” he says. “It did change dramatically from its first draft.” The play was workshopped at Westport Actors Workshop in Norwalk, Conn., and received a staged reading with what he describes as “an A-list cast” at New York’s Irish Rep, where Lamude has directed before. Eventually, he sent it to Cap Rep’s artistic director, Maggie Mancinelli-Cahill, “who took quite a while to read it. At first she planned on including it in a new play festival this spring, but then settled on a full production of it” — with Mancinelli-Cahill herself at the helm. “I’ve tweaked it in rehearsals here,” Lamude says. “I cut the opening of the second act, wrote some new dialogue just recently. It’s a constant tweaking of it. I hope it will have legs after this production.” But he is delighted to have “Kingdom” premiere in the friendly confines of Cap Rep: “My agent purposely did not submit it to other places because this was to be the premiere. Let’s see how it does here. We have some hopes that it will be presented in New York at some point.” The staging, he says, “is probably one of the largest sets done at Cap Rep. It’s rather overpowering when you walk in. They’ve built a whole house on stage. But Maggie feels there are five main characters in the play, the fifth being the house.” A New York City native, Lamude is no recent arrival to the capital region theater scene. He directed multiple productions for the Empire State Institute for the Performing Arts at the Egg decades ago, before that company morphed into NYSTI, now defunct. At ESIPA and later at Cap Rep — and throughout his tenure in regional and off-Broadway theaters — he’s become known for taking on relatively new and in-development plays. His first production at Cap Rep was the premiere of Richard Kalinoski’s award-winning “Beast on the Moon” during the 1996-97 season. He also shepherded early productions of playwright Tom Dudzick’s “Over The Tavern” trilogy, about a family in Buffalo, at that city’s Studio Arena Theater — and brought a still-in-development “King O’ The Moon,” the trilogy’s middle segment, to Albany. He has directed 10 plays at Cap Rep in all, most recently this season’s regional premiere of Donald Margulies’ “Shipwrecked!” While “Kingdom” has been in rehearsals, Lamude has made himself scarce, but for participating in the initial reading and in rewrites. “I don’t think the playwright should stick around for rehearsals,” he says. “I came back later in the process. I pop in and out. I understand writers now, when they’re working, why they can’t go back.” Now that he’s gotten a taste of seeing his handiwork brought to life, “I don’t want to leave directing, but I’ve really taken a great love for writing, especially after this play. People have been very encouraging. I’m going to take time this summer to work on another play I’ve been writing, and I’ve got two more plays in my head that I want to work on right after that.” The world premiere of Terence Lamude’s “Kingdom of the Shore” will be performed at Capital Repertory Theatre in Albany April 22 through May 15. For a full schedule, ticket information and reservations, call 445-SHOW (445-7469) or visit www.capitalrep.org.
Sisters act http://www.timesunion.com/default/article/Sisters-act-1345192.php Carla Page, Lalania Clayton-No'tice featured at Proctors Published 12:01 a.m., Thursday, April 21, 2011 Diana Ross stars as blues singer Billie Holiday in "Lady Sings the Blues," screening at Proctors. () Diana Ross showed she was more than a pop singer in "Lady Sings The Blues." Ross played jazz/blues singer Billie Holiday in the 1972 biopic, which snared two Oscars and won Ross a nomination for best actress; she lost to Liza Minnelli, who won for "Cabaret." "Lady," which chronicles Holiday's troubled life, career and drug addiction, is center stage in the latest installment of It Came From Schenectady's "Soul Cinema 2011" series, which celebrates African-American art and culture in film. This time the series has the subtitle "Sistas in Soul." As with all ICFS productions, your ticket gets you more than just the movie. Special guests include public access television personality Carla Page of "The Carla Page Show," and singer Lalania Clayton-No'tice. "Lady" is rated R and runs 144 minutes. -- Michael Lisi At a glance Sistas of Soul When: 7 p.m. Friday Where: GE Theatre at Proctors, 432 State St., Schenectady Tickets: $12 Info: 346-6204; http://www.proctors.org Read more: http://www.timesunion.com/default/article/Sisters-act-1345192.php#ixzz1K...
Director Terence Lamude takes new role as playwright Director Terence Lamude takes new role as playwright Thursday, April 21, 2011 By Bill Buell (Contact) Gazette Reporter Leigh Strimbeck is Clare, Mhari Sandoval is Cathleen and Jodie Lynn McClintock is Joan, left to right, in a scene from Terence Lamude’s “Kingdom of the Shore,” now playing at Capital Repertory Theatre in Albany. (photo: JOE SCHUYLER) Text Size: A | A | A Rehearsals were always Terence Lamude’s place to shine. These days, however, the veteran director is suddenly something of a novice in the theater business. His first published play, “Kingdom of the Shore,” is being staged by the Capital Repertory Theatre, and though there may be a little tweaking with the script before it officially makes its world premiere next Wednesday night, most of Lamude’s work is done. His show is in the capable of hands of Maggie Mancinelli-Cahill, Capital Rep’s producing artistic director. “I used to be very chummy with actors,” said Lamude, who lives in New York and has directed at various regional theaters in New York and around the country. “I’m still friendly, but it’s different. I don’t have that same relationship with the actors and I realize that’s good. At this point they should worry about pleasing Maggie, not me. Once the play is on its feet, the director really takes over.” It’s a new experience for Lamude, who directed “Shipwrecked” in January of this year at Capital Rep, and has also directed “Betrayal,” “The Seafarer,” “Boston Marriage,” and “Doubt” in his long collaboration with the Albany theater group. One voice “It’s great not having to worry about sound and light cues,” said Lamude, “and it’s wonderful to have someone like Maggie to work with. When we first met with the cast and did the table work [the initial reading of the script] the first few days, I absolutely had a lot to say. But then it’s up to the director. There should be just one voice to the cast and it should be Maggie’s. You don’t want the actors worried about pleasing the playwright. They have to worry about pleasing the director.” Read full story at http://www.dailygazette.com/news/2011/apr/21/0421_shore/ ‘Kingdom of the Shore’ WHERE: Capital Repertory Theatre, 111 North Pearl St., Albany WHEN: Previews tonight through next Tuesday, except Monday; opens Wednesday and runs through May 15; show times are 7:30 p.m. Tuesday, Wednesday and Thursday; 8 p.m. Friday; 3 and 7:30 p.m. Saturday; and 2:30 p.m. Sunday HOW MUCH: $50-$30 MORE INFO: 445-7469 or www.capitalrep.org
Director becomes playwright with world premiere of 'Kingdom' http://www.timesunion.com/default/article/Director-becomes-playwright-wi... In world premiere play at Capital Rep, a director tackles writing By Michael Eck Special to the Times Union Published 12:01 a.m., Thursday, April 21, 2011 1 of 7 View: Larger | Hide Jodie Lynne McClintock, left, plays Joan, and Mhari Sandoval plays her sister Cathleen in the play "Kingdom of the Shore," opening April 27 at Capital Repertory Theatre in Albany. (Joseph Schuyler) Terence Lamude. It's a name familiar to virtually all Capital Repertory Theatre subscribers and patrons. Lamude has directed many plays for the company over the past 15 years, including "Beast on the Moon," "Betrayal," "Boston Marriage" and "Shipwrecked." His name will be on the playbill once again for "Kingdom of the Shore," which opens Wednesday. But playgoers will need to look in a different spot to find it. Lamude isn't directing "Kingdom of the Shore." He wrote it. Lamude -- who also directed for almost 10 years at the New York State Theatre Institute -- began his theatrical career as an actor, and he trod the boards for a decade before he even thought about telling his fellow thespians where to stand and how to speak. A friend's suggestion led the way. "I went into directing over 30 years ago, at the behest of an actress friend of mine, who got me my first job," he says. "Five minutes after I started, I thought, 'This is it, I don't ever want to act again.' " Similarly, a few offhand remarks more recently launched his new career. "I was working with a couple of playwrights on new plays, and I think I was helpful in dramaturging them. Two, in particular, said to me separately that I should get into writing. I thought about it later and wondered if they meant, 'Well, if you think it's so easy, go write your own damn play,' but I decided to interpret it more positively." Lamude is half-Irish. That fact has been reflected in many of his artistic choices. He brought his own instincts, roots and memories to bear on Capital Rep productions of "Doubt," "The Seafarer" and "Long Day's Journey Into Night." He's made it clear in many past conversations that being Irish in America is an important idea for him, so perhaps it's no surprise that "Kingdom of the Shore" directly addresses the Irish-American experience. It's set on a front-porch in Southampton, Long Island. That news alone makes it clear that Lamude is looking at the subject with a new angle. "Southampton," he says, "is a town where the Irish were able to break into society in the 1920s, but the successful Irish are never written about in this country. There is no play about the Irish I'm familiar with where they are portrayed as anything but working class." The Moloney sisters' porch is important to "Kingdom," which addresses issues of family and money and land. It's more than just the setting of the play. It was also its germ. "I had a story in mind which started with the visualization of a porch I was familiar with," Lamude says, "so it was a matter of assembling a play out of this image of a porch." Maggie Mancinelli-Cahill, Capital Rep's producing artistic director, is directing "Kingdom of the Shore." She is, at this point, friends with Lamude, and the playwright says that made handing her the script fraught and difficult. "She really liked the play when she finally got around to reading it. I can't speak for her, but I'm sure when she first got it she thought, 'Oh, God, a director's written a play ...'" Lamude makes it clear that he is not directing this piece. In fact, he's barely speaking to the actors. "I will not say anything to the actors. I think that's wrong for the playwright to do. Everything you have to say should go through the director. They should only hear from one voice." That distance, though, raises the question: Will Lamude be giving up directing for good? Not a chance, he says. "No, not at all, but I do find that writing is just where I like to be right now." Still, playwriting is omnivorous, and as he makes his way into this new territory he is finding it difficult to juggle other tasks. "It's hard when you have a play in rehearsals. Your mind is so much on that one that you don't feel you're giving as much time as you should to the one you're working on now." Lamude is 64. He wrote one other play before "Kingdom of the Shore," a piece that focused on the theater. It's stored in a drawer, where he says it will stay. But the urge is deep now, and he is at work on an espionage-tinged piece influenced by John Le Carre, with concepts for at least two other works fighting for space in his head. He is pleased with the fact that the writing of plays came late in life. "When you're older you bring different qualities to your work, the perspective of a life lived," he says. "You're looking back and observing human behavior having seen a very wide spectrum of it." He's also quick to point out that "Kingdom of the Shore" is not defining his oeuvre. He will not be the A.R. Gurney of the wealthy Irish elite. "I think I've said all I have to say about the Irish and that experience. My next play is utterly different." Michael Eck is a freelance writer from Albany and a frequent contributor to the Times Union. On stage "Kingdom of the Shore" When: In previews; opens 7:30 p.m. Wednesday Where: Capital Repertory Theatre, 111 N. Pearl St., Albany Continues: 7:30 p.m. Tuesday through Thursday; 8 p.m. Friday; 3 and 7:30 p.m. Saturday; and 2:30 p.m. Sunday. Through May 15. Tickets: $28-$53 Info: 445-7469; http://www.capitalrep.org Read more: http://www.timesunion.com/default/article/Director-becomes-playwright-wi...
THE SMASH BROADWAY REVIVAL OF HAIR Comes to the Mainstage at Proctors, May 3- 8 April 19, 2011, Schenectady, NY -- The 2009 Tony Award Winning Musical Revival HAIR: The American Tribal Love-Rock Musical, will play at Proctors for a limited engagement beginning Tuesday, May 3, 2011. Tickets for HAIR are available now and can be purchased at proctors.org. With a score including such enduring musical numbers as “Let the Sun Shine In,” Aquarius,” “Hair” and “Good Morning Starshine,” HAIR depicts the birth of a cultural movement in the 60’s and 70’s that changed America forever. The musical follows a group of hopeful, free-spirited young people who advocate a lifestyle of pacifism and free-love in a society riddled with intolerance and brutality during the Vietnam War. As they explore sexual identity, challenge racism, experiment with drugs and burn draft cards, the show resonates with an irresistible message of hope more than 40 years after it first opened on Broadway. HAIR won the 2009 Tony Award for Best Musical Revival as well as the Drama Desk, Drama League, and Outer Critics Circle award for Outstanding Revival of a Musical. HAIR was also nominated for an additional seven Tony Awards including Best Direction, Best Choreography, Best Costume Design, Best Lighting Design and Best Sound Design. The cast recording was also nominated for a Grammy Award for Best Musical Show Album. The New York Times says "Diane Paulus's THRILLING, EMOTIONALLY RICH production delivers INTENSE, UNADULTERATED JOY", Time Out New York says "HAIR SPEAKS TO A WHOLE NEW GENERATION!” and The Washington Post calls it “IRRESISTIBLE…THE BEST VERSION YET!”. Directed by Diane Paulus and choreographed by Karole Armitage, HAIR features a book and lyrics by Gerome Ragni and James Rado and music by Galt MacDermot. The HAIR National Tour is produced by The Public Theater (Oskar Eustis, Artistic Director; Andrew D. Hamingson, Executive Director), Nederlander Productions, Inc., Carl Moellenberg/Wenlarbar Productions, Rebecca Gold/Myla Lerner, Rick Costello, Joy Newman & David Schumeister, Paul G. Rice/Paul Bartz, Debbie Bisno, Christopher Hart Productions, John Pinckard, Terry Schnuck, Joey Parnes and by special arrangement with Elizabeth Ireland McCann. Running Time: 2 hrs 25 min including one intermission Additional show information can be found at www.HairOnTour.com. Tickets Tickets for HAIR: The American Tribal Love-Rock Musical 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 Get the Group Advantage: Ticket buyers are invited to gather their friends, family or colleagues to see HAIR: The American Tribal Love-Rock Musical (May 3-8) and receive a 10% discount on the ticket price! Discount pricing starts with just a minimum order of 20 tickets. For group discounted pricing and online order form visit: proctors.org/group_sales HAIR: The American Tribal Love-Rock Musical 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. HAIR: The American Tribal Love-Rock Musical is sponsored by the Key Private Bank Broadway Series. Subsponsors of HAIR: The American Tribal Love-Rock Musical are the Manhattan Club, MVP Health Care, Toombs & Meier, Hill & Markes and The Glen Sanders Mansion. Free Parking for HAIR: The American Tribal Love-Rock Musical is available in the Broadway Garage provided by the Times Union. Go to timesunion.com for news and entertainment. Mature Content While many find this show suitable for young adults (13 and older), parental discretion is advised. There is a dimly lit 20-second scene with nudity that is non-sexual in nature, profanity, drug use and sexual content. Also, no one under the age of four will be admitted into the theatre. Interpreted Performance for the hearing impaired: Sun, May 8 at 2:00pm. - Schaffer TheatreTalk - Post-show: May 6, 2011 after the 8pm 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. - 30- The Cast STEEL BURKHARDT (Berger) Once upon a time Steel graduated from a school called Baldwin Wallace. He was shy in a small concert, then got naked in Central Park, was nude on a Broadway stage, then bared it again on the West End. Now he is ready for America... then perhaps the World? MATT DeANGELIS (Woof) Originally from Boston. Proud member of Actor's Equity and Red Sox Nation. Broadway: HAIR (Tribe). West End: HAIR (Woof). Other NY credits: Songs for a New World, Prospect Theatre's The Flood (NYIT Nom. Outstanding Actor in a Leading Role) and The Rockae. Regional: Altar Boyz, JCS, AIDA, Wild Party, West Side Story. www.MattDeAngelis.com PHYRE HAWKINS (Dionne) hails from the small town of Flint, Michigan and is excited to be touring with the cast of HAIR! Credits - West End: HAIR (Abraham Lincoln, u/s Dionne, Tribe). Tour: The Color Purple 1st Nat’l Tour. Regional: (Las Vegas) Avenue Q. She thanks her family, LeeLee, and RiRi for their continued love and support. KAITLIN KIYAN (Crissy) made her Broadway debut in Hair! She made her professional debut in Hair in the summer of 2007 (Delacorte Theater/Central Park). Originally from Hawaii, she attended LaGuardia High School of Performing Arts. She is overjoyed to be a part of this tribe! Love to Mom, Dad, Paul, Jeff, Mahealani, Brittney, Rico, and U’ilani. LOVE! DARIUS NICHOLS (Hud) appeared on Broadway in the original casts of HAIR (Hud), South Pacific and 110 in the Shade. Original Off-Broadway casts of Zanna Don’t and Junie B. Jones - The Musical (Sheldon). 2001 National Tour of Fame - The Musical (Goodie). Alumni of Shenandoah Conservatory of Music, Bachelors of Music performance in Trumpet and Vocal Studies. PARIS REMILLARD (Claude) Broadway: HAIR; Off-Broadway: HAIR, The Public Theater; Regional: A Midsummer Night’s Dream (Lysander), The Shakespeare Theatre; Antony and Cleopatra (Eros), The Guthrie Theater; Much Ado... (Claudio); Hamlet (Guildenstern); Joseph and the Amazing...(Joseph); Forever Plaid (Frankie); My Fair Lady (Freddy); Comedy Sportz. Film/TV: “Good Morning Baby”, “CSI: Miami.” Lots of commercials. Love. KACIE SHEIK (Jeanie) Kacie made her Broadway debut as "Jeanie" with her hippie friends in the Tony Award winning Revival of HAIR. NY: HAIR (Jeanie) Broadway/Shakespeare in the Park. London: HAIR. Las Vegas: We Will Rock You (Scaramouche). Film: “Julie and Julia”. TV: “Law and Order”. Singer/Songwriter. Scorpio. LOVE. CAREN LYN TACKETT (Sheila) Broadway: Rent, High Fidelity, Brooklyn. Off Broadway: Once Around the Sun. Tours: Rent (Broadway Tour & Southeast Asia) Evita, Grease, Fame (Europe), Les Miserables (3rd National). Authored book, music & lyrics of "Born Blue". Voiced characters Stella, Darcy, Chatta and Mirta for Fox5 hit cartoon "Winx Club". Blessings & Thanks! EMILY AFTON (Swing) is delighted to be part of this beautiful tribe! Tour: I Love a Piano. Regional: Goodspeed, MSMT, APAC, Mac-Haydn. BFA Musical Theatre- Emerson College. Love and gratitude to my family and friends. www.emilyafton.com SHALEAH ADKISSON (Tribe) First National Tour! Credits: Beehive, Ain’t Misbehavin, Children of Eden, The Hot Mikado, Grease, Festival of the Lion King. Thanks: Judy Boals, Inc., JToro, Mom, Dad & Kelsie. Proud member of Actors Equity Association. NICHOLAS BELTON (Tribe) most recently in See Rock City. Broadway: HAIR. Other: Wicked in Chicago, Goodman Theatre, Court Theatre, Long Wharf Theatre, Playwrights Horizons, Transport Group, Chicago Shakespeare, Idaho Shakespeare. Film: “Guiding Light”, “Jail City”. Also a personal chef. LARKIN BOGAN (Swing) Broadway: HAIR. Other favorite roles include Pippin (title role), Bobby in Urinetown, and “Part of that drinking world” on Collegehumor.com. Love to YOU, Idyllwild, CAP 21, Tisch, NYU, everyone who said, “don’t cut it.” COREY BRADLEY (Swing) Broadway: Ragtime (revival). Tours: Mamma Mia!, Chicago, Fosse, West Side Story (International). Las Vegas: We Will Rock You and In Time starring Hugh Jackman. Film/TV: Disney's “Enchanted”, “Sex and the City”. BFA - Elon University. LAURA DREYFUSS (Swing) just graduated from the Boston Conservatory and is excited to make her national tour debut! Thanks to The Mine, James, and especially Mom, Dad, Meg, Jo, Dan and Kevin for being the best family a girl could have. MIKE EVARISTE (Tribe) Broadway: South Pacific Revival (Original cast), Les Misérables Revival (Montparnasse). National tours: South Pacific, Rent, Smokey Joe’s Café, Fame. Commercial: “Truth.” Bachelor of Music from Florida State University. “Thanks to my family, friends, Tiff, and God.” MARSHAL KENNEDY CAROLAN (Tribe) loves HAIR and can't believe he gets to be part of it. Credits: The Who's Tommy (Tommy), Mamma Mia! (Sky), High School Musical, Joseph..., Cabaret, Anything Goes, Pippin. Love to all my friends and family. Member AEA. LULU FALL (Tribe) is a jazz vocalist/actor with a musical theatre background who studied jazz at Michigan State University. She has released 2 albums in DC and another set to be released in London in 2011. TRIPP FOUNTAIN (Swing) National Tours: Evita and Cats. Other Favorites: Altar Boyz (Mark), Gypsy (Tulsa), Chicago, Victor/Victoria. BFA Drama from NYU Tisch. Tripp has the most amazing support system ever. Thanks to all of you. The Public rocks. NKRUMAH GATLING (Tribe) is very excited about his first national tour! Regional Credits: Band Geeks (Goodspeed), Miss. Saigon, A Wonderful Life, Dreamgirls (TUTS), Baby (Stages), Parade, Smokey Joe's Cafe. BFA Sam Houston State University. Proud Texan and Broadway Theater Project Alum. ALLISON GUINN (Tribe/Mother) has been in the Public Theater, Broadway and West End productions of HAIR. Other plays include Williamsburg! The Musical! (available on iTunes). Television: HBO’s “Boardwalk Empire”. JOSH LAMON (Tribe/Father/Margaret Mead) Broadway: HAIR (original cast & recording), Tour: Boq (Wicked/1st Nat. Tour), Seymour (Little Shop of Horrors opp Christiane Noll & Hal Linden), Snail (A Year W/Frog & Toad/Barrymore Award) and many other shows across the country. TV/Film: 2009 Tony Awards, “The View”, Steve Phoenix, Walmart. In loving memory of Jorge. JOHN MOAURO (Tribe) Broadway/ London's West End/ Off Broadway: HAIR. Regional: West Side Story (Luis), Jesus Christ Superstar, Fiddler on the Roof also in Honk (Ugly) and Into the Woods (Jack). John received a BFA from Kent State University. atmomfcmabksubro CHRISTINE NOLAN (Tribe) Fanny (ENCORES! City Center), Best of Lerner and Loewe (Carnegie Hall), American Opera Projects (Carnegie Hall). Stephen Schwartz’s Making Music in Wicked, Stars of Tomorrow at Yale University. Graduate of Boston Conservatory and Royal Academy of Dramatic Arts. EMMY RAVER-LAMPMAN (Tribe) is thrilled to be making her tour debut with HAIR. She is a student at Marymount Manhattan College working toward her BA in Theater Performance. Credits: Children of Eden (Eve/Mama Noah); APAC. Love to mom & dad! ARBENDER ROBINSON (Tribe) Broadway: Hairspray, Ragtime (revival), HAIR (revival), Disney's The Little Mermaid. A native of Chicago, Illinois, he considers Orlando, Florida to be his second home. He is currently work-shopping a show of a man coming to terms with schizophrenia. www.arbender.com CAILAN ROSE (Tribe) is a musical theatre major at Pace University. Credits include: (Broadway) HAIR, Miss Saigon; (Regional/Educational) Cabaret, Bare, South Pacific (Liat), Romeo and Juliet (Juliet), and more. Everything for Mom, Dad, family, friends, FMH. TANESHA ROSS (Swing) feels effervescent about this experience!! She is a Pisces who has loved being in (Regional) RENT, AIDA, Chasing Nicolette, St. Heaven (Seattle Times Footlight Award), HAIR, Pippin, Rocky Horror. Love to her friends and family, Namaste. SARA RUZICKA (Tribe) Tours: The Great American Trailer Park Musical (Pippi-1st National), The Wizard of Oz. Regional: RENT (Maureen), Joseph…(Narrator), Footloose (Ariel), and Smokey Joe’s Café (Shimmy Girl). BFA from Shenandoah Conservatory. Love to my beautiful families and puzzle piece. For my guardian angel. JEN SESE (Tribe) is thrilled to spread the joy of HAIR across the US. Past credits include HAIR on Broadway, Mamma Mia! (Lisa), The 25th Annual…Spelling Bee (Marcy Park). Love to Mom, Dad, TULAM, UofM, and MP. LEE ZARRETT (Tribe) Broadway: HAIR, Spelling Bee, Jane Eyre. National Tour: The Cameron Mackintosh/Trevor Nunn production of My Fair Lady. Off-Broadway: Encores!, New Victory, Vineyard, Lincoln Center. Regional: La Jolla Playhouse, NY Stage and Film, Berkshire Theatre Fest, Williamston.
“First Hour” Launches KINGDOM of the SHORE at Albany’s Capital Rep Previews start, Friday, April. 22; World Premier, Wednesday, April 27 In the comedic drama KINGDOM OF THE SHORE, four women – the Moloney sisters -- have a problem. What to do with the house that has been the family's summer retreat for more than 50 years? A symbol of their ascendancy to the American upper middle class from Irish immigrant roots, it has become a battlefield for clashing memories and poignant disillusionment. An eventful June weekend leads the sisters to draw back the lace curtain on the disenchantment of Irish-Americans at the end of the rainbow when they discover the pot of gold has tarnished. Albany, NY, April 19, 2011 – An intimate and animated group of actors, stage professionals, and artistic and production staff gathered on the bare stage of Capital Rep on Tuesday, March 29 for a tradition at the theatre known as “First Hour.” In the brief sweep of 60 minutes, Capital Rep’s Artistic Director Maggie Mancinelli-Cahill introduced Terence Lamude, playwright of KINGDOM OF THE SHORE, the highly anticipated next installation of the theatre’s 2011 season. Lamude, along with the plays Set Designer Vaughn Patterson, and Costume Designer Barbara Bell joined director Mancinelli-Cahill in offering their own unique perspectives on the play, which will have its world premier at Capital Rep on Wednesday, April 27. The show is in previews April 22 – 24, 26 and will run through May 15, 2011. “KINGDOM OF THE SHORE is a world premiere – the 20th in our 30-year history,” Ms. Mancinelli-Cahill told the audience. “That alone is reason for excitement -- but working with the talented men and woman who have come together to make this play possible at Capital Rep heightens that excitement. “KINGDOM is a realistic play about family, “she said. “It’s also about betrayal – I won’t spoil the play for theatergoers – but despite the drama that unfolds over the arch of the play, it is very funny. Lots of family secrets come out on this weekend in the Hamptons.” For his part, playwright Lamude stressed the importance of Shakespearian Sonnet LXIV in setting the mood and theme of the play: When I have seen by Time’s fell hand defaced The rich proud cost of outworn buried age; When sometime lofty towers I see down-razed And brass eternal slave to mortal rage; When I have seen the hungry ocean gain Advantage on the kingdom of the shore, And the firm soil win of the watery main, Increasing store with loss and loss with store; When I have seen such interchange of state, Or state itself confounded to decay; Ruin hath taught me thus to ruminate, That Time will come and take my love away. This thought is as a death, which cannot choose But weep to have that which it fears to lose. For KINGDOM OF THE SHORE, Mancinelli-Cahill has assembled a powerful cast of six actors with credits that include Broadway, Off-Broadway, regional theatre, film and TV credits. The cast of KINGDOM ON THE SHORE includes Lisa Bostnar (Delia); James Judy (Worth), Steve Fletcher (Nick), Jodie Lynne McClintock (Joan), Mhari Sandoval (Cathleen) and Leigh Strimbeck (Clare). As with all Capital Rep productions, theatergoers get an array of options to facilitate seeing the show: • Pay What You Will! - Thursday, April 21, 2011 - One night of discounted theatre, Pay What You Will performances are designed to encourage different community members to experience Capital Rep for the first time, at an affordable rate. Tickets go on sale at 10AM on April 21st and remain available until the show is sold out. There is a limit of four tickets per person. The suggested donation is $5. • Opening Night! - Wednesday, April 27, 2011 -Pre-show entertainment from 6:30 to 7:20PM with a champagne/dessert following the performance. Show begins at 7:30PM. • Date Night Tuesday - Tuesday, May 3, 2011 - Pre-show music starting at 6:30PM, free hors d'oeuvres from area restaurants and socializing with other theatre lovers. • Discussion Nights - Wednesdays, May 4 and May 11, 2011. Ticket holders are invited to join a post-show discussion with the cast, Artistic Director and special guests. • Behind The Scenes With Maggie - Sunday, May 15, 2011 - Pre-show 30-minute discussion beginning at 1:30PM with light continental brunch (coffee, tea, danish.) Three Ways to Buy Tickets • In person at the Box Office at 111 North Pearl Street/open 2 hours before all performances • By phone at 518-445-SHOW/ Mon - Sat 10am - 6pm; Sun 10am - 5pm- • or online at capitalrep.org • Group rates are available Groups of 15-29 = 20% Groups of 30 or more = 30% Curtain Times Tues. thru h Thurs. 7:30pm Fridays 8:00pm Saturdays 3:00pm & 7:30pm Sundays 2:30pm Contact: For more information on KINGDOM OF THE SHORE, contact Michele Desrosiers, Managing Director, Capital Repertory Theatre, (518) 462-4531 ext 210, (518) 339-6112 (cell) firstname.lastname@example.org. To arrange an interview with any of the cast and crew of KINGDOM OF THE SHORE, contact Ms. Desrosiers at Capital Rep or Thom O’Connor, Proctors, (518) 382.3884, x166; email@example.com. - 30 - A Message from the Director Welcome! Our production of KINGDOM OF THE SHORE marks a most auspicious milestone in our 30th Anniversary Season: our 20th World Premiere. For the past three decades, Capital Rep has helped foster new works by offering an artistic home for fledgling and veteran playwrights alike. As a part of the League of Resident Theatres (L.O.R.T.) Capital Rep is part of a network of 73 professional theatres across the United States dedicated to a mission of ensuring artistic excellence in acting, direction and design, while sustaining and expanding the canon of work in the American Theatre. Developing a new play takes time and deep collaboration between all the artists involved. The journey of KINGDOM onto our stage began officially about two years ago when Terence Lamude, who was here directing his 11th show for Capital Rep, asked if I would read the play. I had read and enjoyed another of his plays and so I said, “Yes, but no promises.” As a director, Terry has always had a rich and complex relationship with his Irish heritage and a great curiosity and knowledge about the cultural histories of the world. His quest has brought great insight to works he has directed, including BEAST ON THE MOON, LONG DAYS JOURNEY INTO NIGHT, KING O’ THE MOON, OLD WICKED SONGS, BETRAYAL, THE SEAFARER and this season’s SHIPWRECKED. Reading KINGDOM OF THE SHORE, I recognized immediately the cultural landscape that Terry’s knows well, both personally and intellectually. We share a fascination for the American Experience as told through the evolution of the American family. Here in KINGDOM, we meet the Moloneys – second-generation American-Irish siblings who have been forged by their hard-working grandparents, parents and the American Dream. Well-educated, smart and struggling with the role that love has played in their lives, the Moloneys will make a decision that will forever change how the family relates to one another. The third-generation of the family will be shaped inexorably by the actions of this weekend and ultimately the American Dream and the place of the family will shift once more. I would like to thank you for going on the first leg of the journey for this play. In order for the theatre to be healthy and remain vital, we need an informed audience also willing to take risks by supporting new work. For thirty years, you, our loyal patrons, have been a part of the national theatre scene that allows art to grow. I would like to thank you for being here tonight as a part of the creation process that is essential to assuring that there is a future for the arts! I’ve said it before, but it has never been truer: We couldn’t do our work without you! Thank you everyone and….Enjoy the ride! Terence Lamude (Playwright): After four decades in the theatre -- three as a director and one as an actor -- Mr. Lamude makes his debut as a playwright in KINGDOM OF THE SHORE. He has directed ten productions at Capital Rep: this season, SHIPWRECKED! and previously, BETRAYAL, THE SEAFARER, BOSTON MARRIAGE, DOUBT, SLEUTH, KING O' THE MOON, OLD WICKED SONGS, LONG DAY'S JOURNEY INTO NIGHT and BEAST ON THE MOON. No stranger to the Capital District, Lamude also directed ten productions for the NY State Theatre Institute - eight at the Egg and two in Troy. Particularly interested in fostering new work, he directed, in his native New York City, the premiere of MUSIC FROM DOWN THE HILL by John Ford Noonan at the WPA and at the Irish Arts Center, the premiere of AWAY ALONE by Janet Noble and the American premieres of POOR BEAST IN THE RAIN by Billy Roche, FAMINE by Tom Murphy, I DO NOT LIKE THEE DOCTOR FELL by Bernard Farrell and REMEMBRANCE by Graham Reid (Outer Critics Circle nomination), which was remounted at the John Houseman Theatre with Milo O'Shea and Frances Sternhagen; the premieres of SOCKDOLOGY by Jeffrey Hatcher at the Alabama Shakespeare Festival and Tom Dudzick's phenomenally successful OVER THE TAVERN Trilogy at Buffalo's Studio Arena and numerous subsequent productions across the country all the way to Los Angeles; the European premiere of David Auburn's Pulitzer Prize winner PROOF at Vienna's English Theatre and the continental premiere of Kenneth Lonergan's LOBBY HERO at the English Theatre of Berlin and the English Theatre of Frankfurt. He has directed extensively at other regional theatres, including the Asolo Theatre, Cincinnati Playhouse, Florida Studio Theatre, George Street Playhouse, GeVa Theatre, Milwaukee Repertory Theatre, Pittsburgh Public Theatre and Repertory Theatre of St Louis. He is a proud member of the Dramatists Guild of America, the Society of Stage Directors and Choreographers and Actors Equity Association. He is a citizen of both the United States and the Republic of Ireland. Stephen David Pelletier (Stage Manager) holds a Masters Degree in Theatre from SUNY at Albany and is a founding member of two Albany area acting troupes: the Actor’s Shakespeare Company and the improvisational comedy troupe, The Mop & Bucket Company. His relationship with Capital Rep goes back to those college days in the last millennium when, as part of his internship, he performed in The Cherry Orchard, and was an understudy in the Christmas show, Greetings. Never one to sit still unless there’s ice cream involved, Stephen has lived in Orlando, Florida; performing at Walt Disney World in The Flights Of Wonder at the Animal Kingdom and working behind the camera at KVG Studios as a commercial director and editor. In New York City, he spent two years working as a producer and editor on the same-sex marriage documentary, Tying the Knot. Stage management is a relatively recent addition to his collection of hats and he likes the way it fits. Barbara A. Bell (Costume Designer): Designed 13 shows at Capital Repertory that include The Seafarer, Boston Marriage, Shipwrecked!, Driving Miss Daisy, Dracula, Long Day’s Journey into Night. Designed 36 shows at the Pearl Theatre (NYC) which include Vieux Carre, The Subject Was Roses, Toys in the Attic, Imaginary Invalid. Receipt of a Princess Grace Award for her Pearl Theatre designs. Regional credits include: Raisin in the Sun, Stones in His Pocket, Big River, Kiss Me Kate, Mornings at Seven (Weston Playhouse), Trojan Women, Big Love, (Williamstheatre), Over the Tavern (Virginia Stage Company), The Novelist, The Pavilion (Dorset Theatre Festival). Designed for choreographers Marta Renzi, Obo Addy and Jose Carrion as well as work for Syracuse Stage, Alvin Ailey American Dance, and George Street Playhouse. www.barbarabellcostumedesign.com Maggie Mancinelli-Cahill (Director/Producing Artistic Director) has directed more than 100 productions, including the world premiere of William Kennedy’s Grand View for Capital Repertory Theatre, as well as To Kill a Mockingbird, My Fair Lady, Hank Williams: Lost Highway, The Taming of the Shrew, Moonlight and Magnolias, The Crucible, Intimate Apparel, Metamorphoses, Terra Nova, I Love You, You’re Perfect, Now Change and such classics as Nora, Cyrano De Bergerac, Miss Julie, Doctor Faustus, The Seagull, The Importance of Being Earnest, and A Christmas Carol, among others. She has worked on, Off, and Off-Off Broadway. Before assuming the role of Producing Artistic Director with Capital Repertory Theatre in 1995, Maggie served as Producing Director of Urban Stages in New York City, producing new works of ethnically diverse playwrights. She served as Artistic Director for Theatre Under Glass in Denver, worked at Aspen’s Playwright’s Festival, Arena Stage in Washington D.C., Sierra Rep and Renegade Artists. In New York City she has worked on the staffs of The Women’s Project and Ensemble Studio Theatre. She has taught at the National Theatre Institute at the Eugene O’Neill Theatre Center in Connecticut. Maggie received a Directors Project Fellowship from the Drama League of New York and holds an MFA in directing from Columbia University. She was honored by the Albany-Colonie Regional Chamber’s Women’s Business Council as one of the 100 Women of Excellence and she received the “Distinguished Leadership Award,” an honor bestowed by the Chamber and the National Association for Com- munity Leadership. Maggie Mancinelli-Cahill Philip Morris Producing Artistic Director Chief Administrative Officer Capital Repertory Theatre presents The World Premiere of KINGDOM OF THE SHORE Written by Terence Lamude++ Featuring (in alphabetical order) Lisa Bostnar* Steve Fletcher* James Judy* Jodie Lynne McClintock* Mhari Sandoval* Leigh Strimbeck Set Designer Costume Designer Lighting Designer Sound Designer Vaughn Patterson Barbara Bell+ Rachel Budin+ David Thomas Casting Fight Production Stage Director Choreographer Manager Stephanie Klapper, csa David Bunce John Godbout* Directed by Maggie Mancinelli-Cahill *member Actors Equity Association +member United Scenic Artists ++ member of the Dramatist Guild KINGDOM OF THE SHORE CAST (in order of appearance) Nick………………..……………Steve Fletcher Delia…….………………..………..Lisa Bostnar Joan……………………Jodie Lynne McClintock Clare…………….…..………….Leigh Strimbeck Worth……………….….…………….James Judy Cathleen…………….…...………Mhari Sandoval When I have seen by Time’s fell hand defaced The rich proud cost of outworn buried age; When sometime lofty towers I see down-razed And brass eternal slave to mortal rage; When I have seen the hungry ocean gain Advantage on the kingdom of the shore, And the firm soil win of the watery main, Increasing store with loss and loss with store; When I have seen such interchange of state, Or state itself confounded to decay; Rain hath taught me thus to ruminate, That Time will come and take my love away. This thought is as a death, which cannot choose But weep to have that which it fears to lose. Sonnet LXIV William Shakespeare TIME/PLACE June, present day Southampton, Long Island Act 1 Scene 1: Saturday morning Scene 2: A few hours later There will be a 15-minute intermission Act 2 Scene 1: That evening Scene 2: Sunday morning About Capital Repertory Theatre Capital Repertory Theatre is a not-for-profit professional theater with a mission to create meaningful theater generated from an authentic link to the community it serves. Now in its 31st season, Capital Rep produces a balanced season of dramas, comedies, musicals, contemporary and classic plays to appeal to all tastes. Possessing a history of more than 22 world premieres and dozens of regional premieres, Capital Rep’s productions feature the finest actors, directors and designers from New York City, other American regional theaters and the world. These world-class professionals are supported by a dedicated staff of theater professionals and artists who live and work in the Capital Region, and whose talents serve the theater’s 78,000 patrons. In addition to the professional theatre of the highest caliber, Capital Rep produces education and outreach programs that serve more than 20,000 students and adult learners each year. The only affiliate of the League of Resident Theatres (LORT) within the fourteen counties of the Capital Region, Capital Rep has produced more than 4,750 performances, employed more than 1,200 artists and has contributed more than $30 million to the local economy since its inception in 1981. Capital Repertory Theatre 2011-2012 Season Schedule Uptown Downtown Starring Leslie Uggams Limited Engagement! July 19– July 31, 2011 Opening night: July 19, 2011 Superior Donuts– Regional Premiere! by Tracy Letts September 16– October 16, 2011 Opening night: September 20, 2009 Man of La Mancha–Special Engagement! by Dale Wasserman, Lyrics by Joe Darion and Music by Mitch Leigh November 11– December 18, 2011 Opening night: November 15, 2011 Special Engagement! Available to subscribers as an add-on to their subscription package. The Sisters Rosensweig By Wendy Wasserstein January 20 – February 19, 2012 Opening night: January 24, 2012 Black Pearl Sings! by Frank Higgins March 9 – April 9, 2012 Opening night: March 13, 2012 God of Carnage By Yasmina Reza April 27 – May 27, 2012 Opening night: May 1, 2012
Proctors: On & Off Stage Singing for our supper, enriching yours By Thom O'Connor Monday, April 18, 2011 For those unfamiliar with the phrase, Wikipedia offers enlightenment: A Rodgers and Hart song by the same name debuted in their 1938 Broadway musical, Boys from Syracuse. The lyrics describe a singer performing to earn his meals: "Sing for your supper, / And you'll get breakfast. / Songbirds always eat / If their song is sweet to hear." Over the years, the song has been recorded by numerous jazz and pop artists such as Rudy Vallée, Count Basie, Mel Tormé, Helen Humes, the Mamas & the Papas and Cher. By extension, the phrase has come to mean doing what must be done to ensure survival and success. It seems particularly apt at a time in which arts based organizations across the nation face unprecedented economic hurdles. For its part, Proctors and the Schenectady Symphony Orchestra have joined forces for more than a little singing and merry-making music of their own. The focus of the teamwork is An Evening of Pops with notable Clint Holmes and Susanna Gabbiano and featuring the Schenectady Symphony Orchestra, led by Maestro Charles Schneider. Proceeds from two performances of AN EVENING OF POPS – at 8PM on Friday, May 13, and at 2PM on Saturday, May 14 -- will benefit both the Schenectady Symphony Orchestra and Proctors. It’s a great way to support your hometown orchestra while enjoying fabulous Las Vegas style entertainment – all without leaving Schenectady! Read the full story at: https://www.dailygazette.com/weblogs/proctors-stage/2011/apr/18/0418_prc...
Review: Blue Man Group modernizes, not reinvents, wheel http://www.troyrecord.com/articles/2011/04/15/entertainment/doc4da720394... Published: Friday, April 15, 2011By Bob Goepfert The Record SCHENECTADY — On the way to Proctors to see the Blue Man Group my 14-year-old companion asked me what the show was about. I really couldn’t tell her. On the way home after the show, I still couldn’t tell her what the show was about. What we both knew is that we each had fun. She enjoyed the light and sound show and I enjoyed the subtle satire. We both got a kick out of the silly humor. The problem in defining Blue Man Group isn’t with what happens on stage. That’s pretty elemental. It’s three guys in blue-face acting silly. In fact, you could easily trace the lineage of this very modern company directly to the original commedia del art groups of the 15th century. Even though these guys look and act as if they just got off an alien space ship, the characters they wordlessly play — the leader, the klutz and the accomplice — are stock comedy types. Blue Man group hasn’t reinvented the wheel, they’ve just modernized it. Indeed. One of the thrills of the performance is how the company integrates technology into their comedy. It starts with zipper messages streamed across the top of the Proctors stage encouraging people to shout approval and sing birthday greetings. The messages also tell the young people in the audience not to text during the show as it makes the older people feel inadequate. Then it proceeds to mock twits and tweets. Lights, music and video screens are important throughout the performance to engage the audience. This is a work that is as much a soft rock concert as it is theater. Within this hip environment the material is the way it gently pokes fun at modern obsessions. It makes fun of creating pretentious art, reading dumbed-down digital books, television commercials and iPads. Perhaps I over-intellectualize what is a simple night of fun. The three guys sharing a messy Twinkie dinner with a shy member of the audience participating in a Twinkie dinner is just fun. Creating music by banging on plumbing pipes and putting a mini-video camera in an audience members mouth so far we can see his tonsils is not high comedy — but it is funny stuff. Indeed, the comedy depends on a cumulative effect. The reason it is so hard to define a Blue Man Group show is that it is an experience. It has to be felt with all the senses. This becomes clear at the finale when the trio gets the audience on its feet to mock concert and shake-your-booty dance moves. As the audience is swaying the sound intensifies, the room starts to glow and giant white balls float around the theater along with floating pieces of tissue and confetti. The audience becomes totally engaged with keeping the balls in motion and keeping their bodies in rhythm with the music. It was one of the more communal experiences I’ve had in the theater. Blue Man Group is at Proctors Theatre through Sunday. For schedule and ticket information call 346-6204
LIVE: Blue Man Group @ Proctors, 4/13/11 from NIPPERTOWN.com http://www.nippertown.com/2011/04/14/live-blue-man-group-proctors-41311 Blue Man Group may be the biggest, brightest (and certainly, bluest) theater success story of the past quarter century, evolving from a guerrilla street performance trio to a hugely popular international operation with ongoing productions in five American cities, Berlin and Tokyo. They’ve appeared in TV commercials. They’ve made CDs and DVDs. And they’ve got touring companies as well. One tour landed at Proctors in Schenectady earlier this week, and it’s a head-spinning journey through the hallways of pop culture, across the industrial landscape and down the information highway. It’s not the intimate performance art troupe of original members that made their Nippertown debut 21 years ago in front of a small crowd at Union College’s Nott Memorial. Nor is it the hilariously over-blown, megawatt rock ‘n’ roll parody that landed at SPAC in ’03 and at the Pepsi Arena in ’06. Post continues below... Advertisement Instead, it combines many of the best elements (and the same “sketches,” for lack of a better word) from both into a perfect evening of very smart and very silly fun. There are lots of laughs – sight gags, contemporary vaudeville routines, witty literary jokes, messy slapstick and any number of how-in-the-hell-did-they-do-that moments. If you already know BMG, you probably already know all about the paint-splatter drumming, the Cap’n Crunch cantata, the PVC pipe-organ drumming, the marshmallows, the Big Drum drumming, the spewed paint-ball art, the Twinkie dinner and, well, more drumming. If not, I’m not going to spoil the surprises by recounting the details here. I am, however, going to encourage you to go and experience it for yourself. Bring the kids. Bring the grandparents. And if you’re sitting in the front rows, bring a raincoat (or BMG will provide one for you). Running about an hour and 45 minutes without intermission, the show is equal parts performance art, stand-up comedy, audience participation, rollicking rock ‘n’ roll and pointed cultural satire. That’s an awful lot to cram into one show, especially considering that onstage, Blue Man Group makes a lot of noise, but they remain mute. They are three bald azure beings who are relentlessly inquisitive and percussively obsessed. But they don’t speak a word. They are naive, but intuitively razor-sharp. They are performance artists who skewer the art world. They are rockin’ drummers who poke fun at rock concert rituals. They are blue, and you’re not. BMG has embraced more and more technology over the years, just as they’ve ridiculed it. And there were a couple of glitches in Wednesday evening’s performance – most obviously one of the three screens failed to come down out of the theater’s fly-space for the live-action-meets-video bit – but few in the crowd seemed to notice, and onstage the Blue Man (Men?) covered nicely for the technical gaffe. While quite a few of the show’s segments are by now official BMG classics, they managed to keep the performance fresh and contemporary with new bits that thumb their blue noses at iPads, Lady Gaga and more. The performance is at once sublime and ridiculous, and the Blue Man Group at Proctors is likely to be the best Marx Brothers-meet-Jackson Pollock evening that you’ve ever spent in a theater. Blue Man Group’s week-long run at Proctors in Schenectady concludes with at 2pm matinee on Sunday. Tix are $20, $30, $40, $60, $75. SECOND OPINIONS: Michael Eck’s review at The Times Union B.A. Nilsson’s review at Metroland FUN FACT: Blue Man Group made its (their?) area debut on April 20, 1990. As part of the always intriguing Proctors Too performance series, the creators of BMG – Matt Goldman, Chris Wink and Philip Stanton – offered two shows at Union College’s Nott Memorial Building. Tix were $12.50. ShareThis Tags: Andrzej Pilarczyk, Blue man Group, Proctors, Schenectady
http://blog.timesunion.com/youtharts/broadway-camp-with-mama-mia-coming-... Broadway camp with ‘Mamma Mia!’ pros coming to Proctors April 13, 2011 at 4:10 pm by Jack Leadley Jr., Content Editor Thom O’Connor submitted the following: Kevin McGuire (Courtesy of Proctors) The camp will feature Broadway actor/director Kevin McGuire, professional vocal coach Kelly Bird and choreographer and master dance instructor Sara Weck-Keller. The camp will be held from 9 a.m. to 4:30 p.m. from July 5 – 9. Lunch will be from 12:15 – 1 p.m. We’re planning an adventure of a lifetime this summer at Proctors. Here is your chance to show your talent and hone your skills in musical theater with the professionals of “Mamma Mia!” plus professional veterans in the industry here for one week to share their experiences and talents with you. Proctors Broadway Camp is for students who take acting, dance and/or voice lessons; participate in school or community stage productions; and/or dream of going on to perform in college or even professionally. The week focuses on cast and area professionals who will mentor in voice, dance and acting master classes. Along with the classes, each student will have a headshot taken, work on their resume building, and attend a performance of Mamma Mia! at the end of the week. There will be many opportunities to learn from the professionals that have the same passion as you, THEATRE! The package includes: • 5 days of instruction in singing, acting, and dancing by trained professionals. • Master classes with Broadway artists. • Q&A Sessions with the cast of Mamma Mia! • Ticket to a performance of Mamma Mia! here at Proctors. • Backstage tour with a professional from Mamma Mia! * • Official Broadway Camp t-shirt *Subject to availability. Ages: 15 − 19 Tuition: $320 until May 1st for Early Registration $350 after May 1st Location: GE Theatre RESERVATIONS WILL BE LIMITED. For more information contact: Jessica Gelarden, Education Program Manager, 518.382.3884 x 150 or firstname.lastname@example.org Jessica Johndrew Gelarden Education Program Manager Proctors 432 State Street Schenectady, NY 12305 email@example.com (518) 382-3884, Ext. 150 Fax: 518-346-2468
http://www.timesunion.com/default/article/MopCo-s-many-hands-keep-improv... MopCo's many hands keep improv coming By Michael Eck Special to the Times Union Published 12:01 a.m., Thursday, April 14, 2011 Larger | Smaller Printable Version Email This Font It's been a year since MopCo (The Mop & Bucket Company) went underground -- Underground at Proctors, that is. The improvisational theater and comedy troupe moved its shenanigans into the downstairs space at Proctors last April and upped the ante on its schedule by shifting, at the same time, to a weekly format. MopCo founder and co-director Michael Burns says that the move has been enormously successful, from both commercial and artistic vantage points. "We predicted, way back when we pitched the idea of a weekly show to Philip Morris (Proctors' executive director), that our audience would grow, and indeed it has. A slow night now is like a good night a few years back, and considering that we are on virtually every week, that means a lot more people are showing up." "As for the troupe, working weekly has been a huge benefit, and something of a trial as well. When we were getting gigs here and there, the level of commitment could only rise so high. But now, members of the company know that showing up at rehearsals and to help out at shows one isn't cast in is really important." "Helping set up, strike, run lights, take tickets, et cetera, is excellent training for all of us. You can learn a lot from watching a show that you aren't in." The sheer work involved in staging a weekly program has become part of the fun for the MopCo ranks, according to Burns, in a sort of military campaign way. "Every Friday, we show up and convert an empty room (which is used on Sundays as part of the Greenmarket and during the week as a video studio for Schenectady Public Access/Open Stage Media) into our stage. We install a grid of lights, we haul out flats and platforms, chairs and signs, and so on. At the end of the night, everything gets packed back onto a closet again." "It's kind of magical, seeing this little space become an intimate theater in an hour." Among the success stories at Underground is a new improv format, created by MopCo, called "Chortle Kombat." "It's part game show, part vaudeville, part short-form improv, and part long-form improv," Burns says. "We have an interlocutor -- a word I borrowed from the old riverboat minstrel shows -- who serves as emcee and scorekeeper. The interlocutor introduces two 'combatants' who compete for that evening's title of Master Improvisor." In the MopCo improv game "Theatresports," two teams of improvisors compete. In "Chortle Kombat," the combatants compete as directors -- using the same pool of improvisors. The audience awards points after every scene, and at the end of the first act, a winner is announced. "The Master Improvisor, besides being awarded bragging rights, decides the format for the second act," Burns says. Burns says the troupe has also recently found something of an ambassador in Katie Chanecka. Under her maiden name, before joining MopCo, Katie Haverly made a mark locally as a powerful singer/songwriter. Chanecka, who is on an extended global honeymoon, recently visited Australia. Theatresports -- the above-mentioned improv format that Kat Koppett, MopCo's co-director and Burns' spouse, developed in San Francisco -- has taken hold there. "We hear the Australians loved Katie," Burns says. "She ended up performing with them for a show or two as a guest artist, and she loves them. I can't think of a better person to make that connection on our behalf. "Like musicians, improvisors are very sharing. It's part of the nature of the beast that we share. When we do, each group enriches the overall collection of knowledge in the field. As to what Katie will bring home, that's the great, exciting mystery. "Whatever it is, I know it will be great." Michael Eck is a frequent contributor to the Times Union. If you go "CHORTLE KOMBAT" When: 8 p.m. Fridays. Through April 29. Where: Underground at Proctors, 432 State St., Schenectady Tickets: $14, $6 students/seniors Info: 346-6204; http://www.proctors.org
David Sedaris at Proctors, 4/9/11 (Review) http://thefreegeorge.com/thefreegeorge/david-sedaris-proctors-review/ “Ladies and Gentlemen, America’s most beloved author, David Sedaris.” This introduction, which the announcer barely finished on account of his own laughter, set the tone for an evening of hilarity and poignancy at Proctors this past Saturday. Sedaris walked across the stage to his podium, with a stack of papers and some books under his arm, as though prepared to present a quarterly report to investors, not entertain a crowd for ninety minutes. He began by reading from his latest work Squirrel Seeks Chipmunk: A Modest Bestiary, eliciting laughter on cue from his audience. He was a rock star giving his fans something to sing along to before jumping into the new stuff. And jump he did. Following ten minutes of tried and true material, he hopped into a story of his recent trip to China. He did not paint the picture that so many (for reasons of both political correctness and a genuine desire to show respect for a culture built upon that very ideal) try to make us see. It is this typical reverence, this respect bordering on worship, that made Sedaris’ account of China so startling, though one barely had time to register the aspect of being startled before breaking into laughter. Sedaris’ voice is disarming, high and melodious in such a way as to perpetually sound as though he’s speaking to expectant children. To hear this voice then speak of great gobs of phlegm as “oysters freshly shucked” lining the streets of Beijing is a joke unto itself. He spoke of eating rooster and seahorse. He laughed as he recounted an experience with his longtime partner Hugh Hamrick, with whom he had once enjoyed a helping of horse meat years before. In China, Hugh had taken a moral stance on eating seahorse. “Eating horse but not seahorse,” Sedaris laughed, “is like enjoying poultry and taking a moral stand on Peeps.” Sedaris has the enviable ability to see the humor in that which is not humorous, at least not to the untrained eye. It is this keen eye for dark humor which has propelled him to literary stardom, for he possesses the ability to take what by rights should be dramatic memoir and then turns them into hilarity, usually reserved only for fiction. The question of how he does this remains a mystery to those of us trying to do it, but Sedaris reveals a bit of his process when reading in front of an audience. He reads from his stack of papers, making notes here and there with such natural flow and seamless dexterity that it took me a few minutes to realize he was actually editing as he read. The audience is his test case, his focus group, and he adds and subtracts according to what works. Things turned serious as he spoke of his father, whose parenting style, which consisted of informing his son in various passive-aggressive ways that he, David, was not good enough. Sedaris was constantly competing with other boys for his father’s attention, whether it be a better swimmer at the club, Donny Osmond, or whomever, there was always someone “better”. Even when Sedaris called his father to tell him he had reached number one on the New York Times Bestseller List, the elder Sedaris quickly informed the younger that Dress Your Family in Corduroy and Denim was not number one on the Wall Street Journal list. Sedaris would not, though, allow his audience to feel sorry for him. At the first compassionate “aw”, he quickly noted two things. One, he would have never become the writer he became if his father loved everything he wrote. Two, parenting styles were a tad different forty years ago than they are today. I have been to my fair share of author readings in the past and Sedaris is at the top. Whereas so many writers deify themselves, waxing poetic on the ills of society and in one way or another claiming that if the world simply thought more in his or her vein, these ills could be cured, Sedaris simply tells stories and allows his audience to learn what it likes from his experience. This show of respect to his audience is one that did not go unnoticed. As a final note, I do not usually stand in line to have my books signed. It is my feeling that the book already has the author’s name on it and any personal message an author might send me can be found somewhere within the pages. However, upon leaving the event I discovered Sedaris was signing his books in a rather unorthodox way. He was seated in a room, allowing only one or two people in at a time. He was taking a few minutes to sign his books and have actual conversations with his fans. Though I knew this meant the line would take forever to get through, I decided to thank Mr. Sedaris for an enjoyable evening. An hour and a half later, I asked him to sign my notebook with some encouraging words for the struggling writer (not that I have any experience with this kind of thing). After he did so, I now plan to have every writer I meet do the same. He wrote: “To Matt, You, too, can be rich and self-satisfied with four homes. Just not today.” –Matthew Holden is an Assistant Editor for The Free George. The Free George is the online magazine and visitors’ guide of Upstate NY, covering things from Albany to Lake Placid, including Saratoga, the Lake George region and the Adirondacks. Check out our new City Blogs section for our extended coverage areas as well.
BLUE MAN GROUP @ PROCTORS, 4/12/11 http://blog.timesunion.com/localarts/blue-man-group-proctors-41211/15689/ April 13, 2011 at 12:34 am by Michael Eck By Michael Eck Special to The Times Union SCHENECTADY – Blue Man Group at Proctors. Wow. I dare you to find a better, more entertaining way to lay down your hard-earned cash in exchange for the opportunity to be called a gluttonous, greedy, slow-witted lemming weaned on bad TV, junk food and media overstimulation. The current touring Blue Man Show is wickedly subversive in that it virtually indicts its audience on the above counts while also being hugely, satisfyingly fun. Blue Man has always had its cake and eaten it too, often vomiting it back up in riotous colors. It certainly does that here — although the cake comes in the form of Twinkies. From the start there’s been a winking art terrorism at work in all of Blue Man’s efforts. That trademark still remains. A “piece” made from regurgitated marshmallows, for example, was transformed into “art” at Tuesday’s opening simply by putting a price tag on it — not unlike John Cage’s frame. It’s not fair to give away any of the mesmerizing performance’s other punchlines, which often match visual punning, synchronized percussion and Eurocentric dance moves to a greater scheme. In some ways the touring show at Proctors is a greatest-hits package. Certainly key elements like splashing paint on drums and pounding away at percussive machines constructed from PVC tubing are on view. But there is also an obsessive element of commentary on our fascination — as a nation and a world — with handheld devices and their constituent vices. Even before the show begins, scrolling text screens riff on, well, texters, as well as on the older folks in the crowd made nervous by constantly clicking thumbs. Later, GiPads — a nightmare vision of Apple innovations gone wrong — provide a window into a world of insane overconsumption. The latter is delivered in part — in famous Blue Man fashion — by the beat of three strange men chomping on Captain Crunch. At every turn Blue Man Group skewers another aspect of society, yet it never feels truly mean. A young woman was brought up from the audience for a skit and her eyes reflected equal amounts of elation and fear. The muteness of the Blue Men made them seem intimidating and childlike at once, and that is a huge element of their success. They are our blue id. The routine — which you’ll have to see to understand — played with concepts of kindness, selfishness, control, sexuality and, of course, fine art. And right there, in the midst of it, random elements — which again would be unfair to describe — kept the bit silly, vibrant and creepily entertaining. The big closer is a brief booty-shaking party the likes of which you’ve never seen. Don’t worry, the show isn’t anywhere near as intellectual as this review makes it sound. It’s way more brainy than that. And it’s a hoot. BLUE MAN GROUP When: 8 p.m. Tuesday Where: Proctors, 432 State Street, Schenectady Running time: 1 hour, 45 minutes; no intermission. Continues: 8 p.m. Wednesday through Saturday; 2 p.m. Thursday, Saturday and Sunday. Tickets: $20-$75 Info: 346-6204; http://www.proctors.org -30-