#Connor Curley

[eekub988]

freaktaines d.c.

[aeolianblues]

I'm hearing criticism (/generally interesting responses) to the new Fontaines D.C. look from people around, usually along the lines of calling it cringe, or strange, outlandish, off-putting, weird... but I think what a lot of people discount with artists, and particularly with pop musicians who seem to get this sort of feedback on their looks on the daily, is that in this stage of being, artists aren't dressing themselves up to "look good", or certainly not to look conventionally attractive for a conventional audience's sensibilities.

It's about art. It's about expression. I know it sounds so obvious, but people are not considering that the choice of clothing is a representation of the art. The sartorial and stylistic direction on this album was guitarist Carlos O'Connell's decision, he said when he heard the sounds they were making on the album Romance, to him it appeared bright, and neon green. When you look at him during this era's press shots, you'll often notice that his reddish-pink dyed hair has been supplemented by a sharp suit, neon green.

Fontaines' first re-appearance during this new Romance era was in turning up to New Broadcasting House in London for an interview on Jack Saunders' BBC Radio 1 new music show. One of the first things Jack commented on was the band's dressing sense, and this seemed to be a very direct cut from the Fontaines of the past.

Fontaines' other guitarist, Connor Curley explained in that interview how this time around, the band were being completely fearless with their sonic explorations, and had tried to stop listening to the little doubting voice in the back of their heads that worried what people would think if they strayed too far from past sounds.

To singer Grian Chatten, as explained in a recent interview with NME, Romance and this era has been about letting go of certain inhibitions, not trying to blend in anymore, embracing his current state while also celebrating the tiny flames of optimism and love in an increasingly maddening world. In a world where love has to shout to be heard over the general din, it makes complete sense that the only sartorial representation for this attitude would be loud.

Loud because they don't care what people who have seen them in the past think. Colourful, as a reminder of the hope in everyday life. It's the perfect choice of clothing for this era. It's a part of the art, not a band trying to look drop-dead gorgeous; that is not the job of an artist.

It has its time and its place, and if all you see of them are a few press shots, what you may not realise is that most artists dress fairly normally when they're not in the public eye. When you're on a platform where your presentation is part of your performance, it makes sense to dress up. You wouldn't ask a rock band to cut the distortion on a rock song because it doesn't sound like a normal acoustic guitar, would you?

[mazzy-rockstar]

YAR NOT ALOIVE OONTIL YUH START KICKIN

[1twontalwaysbelikethiss]

Thank youu for the tag <3

I'm only posting the last song I've listened to.

I don't have any pic of a celebrity saved. If I do I delete immediately because your girl has no memory space😅

Also about the lockscreen, I'll keep it private because it's a picture I've taken myself of grian chatten and connor curley from fontaines dc when i saw them and since no one knows i have a tumblr & the picture is one I have and no one else taken, i prefer to not give myself that way in case well... someone randomly finds it lol 😅

Post a screencap of your lockscreen photo and a screencap of the last/current song listened on Spotify/YouTube, as well as the last photo of a celebrity that you saved in your phone. thanks for tag @antiquitea

no pressure tag: @pillow-titties, @laraghostcookie, @icouldntfindquiet, @catb-fics and @thedumpsterwizard

[twinkandwink]

Fontaines DC - Live and Signing  - Rough Trade, Bristol 30th November 2019

[thirtythreefourtyfive]

album of the day 4.9.22 - skinty fia

This album is a masterful work of post punk experimentation and exploration of chaos, confusion and identity. It follows their incredible rise to success through two similarly great albums but different in tone and execution. This album loses much of their punkier louder thrashes and fills it in with expansive guitars and a slower tempo. This album emotionally is turbulent and full of displaced songs the song “The couple across the way” takes the point of view of an old married couple seeing two young lovers move in and wonder what its like to be them  “Maybe they look through to us and hope that’s them in time,” the song ends with this line which can either be seen as a way of reaffirming that the old couple in reality are fine and in a good relationship or is showing how deluded young couples are to find themselves trapped in relationships like this old couple either can fit the album and it’s left to the listener. Another important song to the album is the song “I love you” it is an overtly political song with slow melodic verses and faster intense screaming choruses said by the singer Grian Chatten to emulate the double edged nature of love, it is a song that takes the perspective of a wealthy Irishman who has moved abroad and who is “enjoying great personal success and a sense of cultural pride” it discusses the corruption in Irish politics and its hopelessness to the youth with lines like “But this island's run by sharks with children's bones stuck in their jaws” this references the mass graves found at the site of former Bon Secours Mother and Baby Home in Tuam, Co. Galway in Ireland. The remains found were the children born to unmarried/single mothers, a group vilified by the catholic church in Ireland during the 20th century. These mothers were sent to mother and baby homes managed by nuns, where they were abused, demeaned, performed forced labour and gave birth to said children who were immediately taken from the mothers. This is a stain on Irish history and one of the few atrocities mentioned in this song. “ And they say they love the land, but they don't feel it go to waste”, “Hold a mirror to the youth and they will only see their face”, “Makes flowers read like broadsheets, every young man wants to die “ these 3 lines reference Irelands housing crisis and the narrators patriotism, how many Irish youth feel abandoned in their beliefs and political battle and the suicide rate of young Irish men respectively. This song is a masterful run through of the bands thoughts on the political state of their homeland for which they feel pride and detachment. The last song written by band member Connor Curley is meant to embody the spirit of Vladimir Nabokov and uses metaphor to comment on the need for compromise in a relationship illustrated as subservience, to illustrate how subservient it is to give up your life and autonomy for the love of someone else  “I will be your dog in the corner, and I would light your cigarette.”. This album follows arcs growing a happy and hopeful side halfway through while being constantly surrounded by the hellish doom tracks such as I Love You embrace this song ends the album on a hellish doom note and ends the album as such. This album is a work of confusion and doom, in a time of uncertainty Fontaines DC have changed their sound and frame of mind and have embraced the hellish doom which confronts them and the confusion that comes with it and it has embraced their most compelling and sonically varied album yet.

[erosoftitan]

Favorite Characters Meme: List your favorite characters from 10 different fandoms and tag 10 people.

In no particular order:

Eros/Starfox from Marvel

Hotaru from Mortal Kombat

T-1000 from Terminator 2

Tron from TRON (1982)

Curley Burne from Warlock (1958 novel; 1959 movie)

Dr. McCoy from Star Trek TOS

Harkness from Fallout 3

Doctrine Dark from Street Fighter EX

Lance from Fire Emblem 6 (with Alen ofc)

Yang from Street Fighter comes to mind. But this list leaves me unsatisfied - Sarah Connor, Sonya Blade, Ellen Ripley, Rain, Oldschool Reptile, Kyle Rayner, Thundercracker from G1 . . . Plus, a lot of my favorite fixations are from ancient

tagged by: @fasciinating (thank u!)

Tagging: I'll tag ppl later, im on phone. @hawkwxrd @viopolis @nxthero @spydered @fiery-assassin @madeofstxrs

[yrmonster]

Artist: Fontaines D.C.

Album: A Hero’s Death

Songwriters: Carlos O’Connell / Connor Curley / Conor Deegan / Grian Chatten / Tom Coll

Released: 31 July 2020

“Life ain’t always empty.”

From Sterogum’s track-by-track interview, lyricist and singer Grian Chatten said, “I think the things that maybe felt like a threat against my individuality in my life at the time. I was stepping into a really serious relationship for the first time in my life, and there was that fear of losing myself in that. There was also the greater threat I recognized, the adulation and the feedback and critique of our music and our band, and the expectation of our music in a way. I think I’m very susceptible to people-pleasing. I often end interactions feeling kind of dirty because I’ve forced myself into saying things I don’t believe, or into acting happy or energetic or whatever. That sickness kind of built up and this tune came out of that.”

[findasongblog]

A few artists featured on Find A Song have recently released albums, check them out:

Jindalee - Vela

"The songs on Vela are about experiencing nature through all the senses. It is about the beauty and sensuality of the world. They are summer-y, warm, watery and vibey. If these songs were a colour I feel like they would be a bright turquoise sea. I wanted to capture the feeling of floating on the surface of water, of being in both air and water at the same moment. Landscapes inspired the lyrics in many of the songs, the Mediterranean in particular, where I have been lucky enough to visit often in recent years. They are about different experiences with the sensual world. I wanted to write an album about the human experience in nature and the feeling of letting that surround you, whatever kind of environment it is." (press release)

Penny and Sparrow - Finch

It will punch you differently. It will (with any luck) make you ponder and look up words and reconsider things. We hope you love this and embrace it for its nuance and newness. (newsletter)

Sail By Summer - Casual Heaven

Songs about longing, lack of self-confidence, songs about indifference and choice of directions. It could be Big Thief, Charlie Cunningham or Death Cab For Cutie, inspired by the sound of epic bands like The Cure, Pink Floyd and Spiritualized. But first of all, this is Sail By Summer and their long awaited debut album «Casual Heaven»

Fjords, mountains, rivers of gold. Lots of rain and the summer is cold, this is Bergen, this is Norway. In this refreshing environment you’ll find the melancholic Nordic indie band Sail by Summer. Fronted by Norwegian Grammy award winner William Hut and his characteristic voice, with his long time Danish collaborator Jens Kristian behind the keys. Together they have created this universe inspired by the nature that surrounds them. (press release)

A. Billi Free - I Luma

In theme and style, A. Billi Free effortlessly slides between the present and the future and between earth and space on her debut album I Luma. Meaning "in front" in the Samoan language, I Luma centers A. Billi Free's sincere musings on discovery and adventure in her universe over soulful, uplifting, dance-ready jams. I Luma is backed by an electronic/pop/alternative R&B sensibility entirely composed and produced by Chicago production duo and Tokyo Dawn artists, Tensei. Interstellar jazz multi-instrumentalist Angel Bat Dawid on clarinet sets the tone for this enchanted musical journey on the track "Flourish". Recorded in New Mexico, Illinois, and Massachusetts, the resulting magic outweighs the challenges of this type of creation as the album’s sonics are strong and richly layered, providing a solid foundation for A. Billi Free's smooth tone and earnest message to transmit through the cosmos. Rooted in an eclectic blend of hip hop, soul and electronica, she has spent the last decade in the deserts of southern New Mexico and west Texas fusing elements of both the city and the border into her sound. (press release)

China Bears - I’ve Never Met Anyone Like You (EP)

‘I've Never Met Anyone Like You' contains five tracks including ‘Stay For Good’, their barnstorming first single on fierce panda earlier in 2019, the lusciously sadfaced springtime follow-up ‘Sunday’ and their most recent radio outburst 'Cold Shivers', a slowburning journey through tremulous vocals and crushing old school emo powerchords. Add in the deceptively blossoming 'Trick Myself' and the quietly amazed melancholy of the title track and you have an EP for the ages by a quartet heading for the grandest of stages.

For here is a band which gently bandies around words like "honesty"; a band which make music which can be painfully intimate, but enormously approachable; a band which nods sagely at the stadium-sized introspection of The National, Dry The River, Snow Patrol and Death Cab For Cutie; and a band which, in the case of the aforementioned 'Sunday' can come up with a sublimely sub-hysterical hook which goes: “Good God it’s a Sunday afternoon / What are you doing on the kitchen floor again?” (press release)

Carriers - Now Is The Time For Loving Me, Yourself & Everyone Else

Carriers’ debut LP  is a testament to the power of self-reflection and is carefully layered, leaning on strong core songwriting, hypnotic synths and lush guitar tones from Kiser, mesmerizing percussion delivered by Devendorf, and nuanced, dynamic bass lines from Curley. The 9-track album evokes the same guitar-led grandeur of The War on Drugs as Kiser takes stock of life, death, relationships and gratitude for another day. As Kiser details, “Overall it's about appreciating what we have and remaining present, while still being able to have an honest perspective of the past and our future. I’ve personally found a lot of peace in just working hard and staying focused on what I've got going on, trusting, rather than being consumed with striving. This record process has taught me a lot about patience. Life will continue to teach me to have more. I’m just trying to accept what happens and handle it the best I can. Patience is forever.” (press release)

Alex Bent + the Emptiness - Baby

What was supposed to be a love letter to someone else ended up being one to myself. Baby was mastered by Trevor Case of Case Mastering (Kelly Clarkson, Missy Elliot). The album features contributions from BROCKHAMPTON affiliates (singer-songwriter Jack Larsen and producer Connor Barkhouse), as well as Samurai Champs’ Merv xx Gotti and Jeah. (press release)

[rollingstonemag]

Un nouvel article a été publié sur https://www.rollingstone.fr/interview-fontaines-d-c-a-letoffe-des-heros/

INTERVIEW - Fontaines D.C. à l'étoffe des héros

Forts d’un tout premier album, Connor, Conor à nouveau, Tom, Carlos et Grian déboulent au pas de course et propulsent leur groupe Fontaines D.C. On a discuté de ce fameux point de non retour avec eux

Une subtile référence à Frank Sinatra. Les gars de Fontaines D.C. sont aussi de grands amoureux de leur ville natale, Dublin. Voilà la provenance d’un nom de scène qui raisonne, qui détone. Tout comme cette musique, très britannique, parfois nostalgique d’un genre aujourd’hui quelque peu malmené – le post-punk – mais fièrement ancrée dans une démarche, une posture rock à l’ancienne. De titres en titres, les routes ont mené Fontaines D.C. fraîchement signé chez Partisan Records à (enfin) présenter un premier disque, Dogrel, disponible le 12 avril prochain.

À l’origine, les membres du groupe se sont rencontrés au collège de Dublin, après avoir joué individuellement dans divers groupes de chambre, sans réel but. Mais le lien musical à tout de suite été très tenace. « On était assez mauvais » débute Conor Curley (guitariste) en allumant sa cigarette. « À vrai dire, cette période est un peu floue artistiquement parlant, puisqu’on n’avait pas vraiment d’aspiration. Aujourd’hui c’est différent. Il y a un concept, une idée. Il y a de la musique et tout ce qui implique derrière ; une production, un staff, des concerts. » Les cendres tombent sur la table en fer sur laquelle il est adossé. Il les balaye et reprend une bouffée. « Je n’ai franchement pas l’impression qu’on a pris du temps à composer ce premier album. Comme j’étais dedans à 100%, le temps est resté suspendu. » 

Cette idée d’intemporalité traverse les onze morceaux de Dogrel, disque brumeux, nerveux, honnête. « On aimait les mêmes artistes et nos idées se partageaient mutuellement. Les chansons se sont filées très naturellement, on a donné nos chances à chaque mélodie », ajoute Carlos O’Connell (guitariste), qui vient de nous rejoindre. Au petit bonheur la chance, l’album s’est bouclé cet été, « et on en est extrêmement fiers. »

« But I’m gonna be Big » chante Grian Chatten dans le titre « Big » ; une évidence désormais. Fontaines D.C. à tout pour réussir mais à la goût du danger, de l’inconnu. Pour ce premier album, la formation a préféré rester à la maison, privilégier le voyage pour plus tard. « On voulait montrer que tout était encore possible, ne verrouiller aucune porte dès le départ » explique le groupe. « Notre plus grand peur, c’est de ne jamais acquérir une longévité » continue Connor. « Aujourd’hui, la manière dont les gens consomment de la musique, c’est assez dans l’urgence. On écoute et on oublie. » Le musicien emploie ensuite les termes « Fit it any trend ». Ne pas rentrer dans des cases. Une audace punk à saluer.

« On est tous très conscients de cette industrie. On doit tourner, travailler beaucoup pendant un laps de temps défini, tourner à nouveau et reprendre le boulot pour un deuxième album… Je pense que c’est comme ça que la longévité peut être en danger. En forçant la créativité. On ne peut pas obliger un artiste à écrire » termine Connor en écrasant le mégot de cigarette. C’est donc ça, Fontaines D.C ; un élan de liberté insaisissable, dont l’épicentre vient de Dublin. Cinq nouveaux héros de la scène britannique qui forment un tout, dont l’attitude, en définitive la musique, demeurent musclés de spontanéité.

Dogrel, disponible le 12 avril chez Partisan Records et Pias. Ils seront en concert (sold out) le 22 avril prochain au Point Ephémère.

[eekub988]

LMAO THEM BOTH SERENADING HIM 😭😭😭

[aeolianblues]

Fontaines D.C. talk to Jack Saunders on BBC Radio 1's New Music show

Grian and Curley dropped by BBC Radio 1 to talk to Jack Saunders about the first single off their upcoming fourth album Romance, which comes out August 2024. I'll grab the audio clip once the broadcast of Jack's show is done. Sorry if this sounds like a blurb off the BBC site, I don't work for them but they should bloody consider that.

[On the lyrics to Fontaines D.C.'s first new single, 'Starburster']

Grian: "I felt a sense of immobility when I was writing these lyrics. I actually had the lyrics written, and was unsatisfied was them. I was on the way to record them and had a bit of a freak-out. I sat down and texted the producer James Ford and said, "I can't do this right now," I had to have it postponed. I sat down and just redid them because it wasn't what it was meant to be. And then it kind of came out in one go. It was sort of the experience of listening to yourself as opposed to expressing yourself."

[On the gasping breaths on Starburster, which Jack described as 'coming up for air']

Curley: I think working on this project breathed new life into us, we were excited to work on new sounds and go for it instead of being safe, which I don't think we've ever done, but on this one, we tried for it even harder.

Grian: You've got to take steps forward. Previously when we were releasing new music, we though that we might alienate some people with what we were going to release, but where in the past we may have thought that we didn't necessarily completely commit to the step, this time we did really jump.

[On the hip hop influence]

Grian: I was really into hip hop as a kid, and as you [Jack Saunders] mentioned, there's definitely a bit of a Gorillaz element to the production [the strings]. The focus came from a place of aggression and frustration, all the vowel sounds came out first and I had to figure out what the vowel sounds were.

[On the band's new aesthetic and bright coloured look, and 'finding light in a dark place']

Grian: The idea of the title is about embracing the necessary delusion in terms of how to function [in everyday life]. I imagine it as a world within a snowglobe, that you can slip into like a warm bath, but within that world is all the madness and the hysteria. It's about embracing that.

[On the album 'Romance']

Grian: We're releasing a new album, it's name is 'Romance'. That track [the snippet posted yesterday] is the opening track and it's also called Romance.

'Starburster' is BBC Radio 1's Hottest Record of the Week.

Update: Full interview

[sarupgallery]

SUPERjury

Sponsored by RINKA

www.rinka.com

SUPERjury, hosted by The American Institute of Architecture Students (AIAS) and The School of Architecture and Urban Planning (SARUP), is a final celebration of the year’s most innovative and contemporary work at SARUP. Throughout the year, SARUP produces incredible work from all levels of students that often goes unrecognized. In addition to celebrating that student work, this event provides an opportunity for all students and faculty to get involved and learn about each studio’s curriculum. This year's nominated projects will be presented online through a the new online sarupgallery. Voting will take place digitally and winners will be announced during SARUP’s virtual Tea and Bikkies event on Friday, May 15th.

Distinction is the highest level a project can be awarded. The second level is Merit. The third level is Honorable Mention.

For context, Arch 310 and Arch 320 are sophomore undergraduate (BSAS) studios. These are the first studios in their undergraduate education. Arch 410 and 420 are the junior year undergraduate studios. Arch 810 and Arch 820 are the first two studios for the 3 year MArch (non-architecture background) program. Arch 825 is the graduate (MArch) comprehensive studio. Lastly, all elective studios, Arch 650/850, are a mix of undergraduate (BSAS) and graduate (MArch) students.

SUPERjury Winners

Distinction

Bella Biwer, Armand Gamboa, + Clair Hitchcock Tilton, Unidad, Critic: Jose Ibarra

David Katz, Apartment Structure, Critic: Michael Jefferson 

Caroline Schlosser, Lucas Dedrick, DJ Curley, SIGLUAQ, Critic: Jose Ibarra

Jansen Van Grinsven, Museum of Hip Hop, Critic: Chris Cornelius 

Merit

Lisa Sun, Steel Gardens, Critic: Kyle Talbott

Edward Fang, Deep Learning House, Critic: Michael Jefferson

Natalie Kuehl, A Dwelling with Character, Critic: Nikole Bouchard

Edward Fang, Milwaukee Inflatable Museum, Critic: Filip Tejchman

Kim Workman, The Estuary, Critic: Alex Timmer

Lexie Peterson, Tectonic Fragment, Critic: Karl Wallick    

Bailey Abbott & Jack Glavin, 19/1, Critic: Alex Timmer

Kim Workman, Museum of Hip Hop, Critic: Chris Cornelius

Honorable Mention    

Seth Calmes, Scholar’s Residency, Critic: Marc Roerhle   

Connor Howard, Moonrock Boathouse + Spa, Critic: Monika Thadhani

Rachel Bergelin, Thermal Cascade, Critic: Bill Noelck 

Claire Hitchcock Tilton, Seed Bank, Critic: Kyle Talbot

Amanda Golemba, Gridded, Critic: Jim Wasley

Max Driftmier, Sea Lion Zoo, Critic: Lucille Sells

Will Bowman, UWM Student Dorm, Critic: Brian Schermer

Conor Howard, UWM Eco-Residence Hall, Critic: Tim Wolosz

Thesis Prize

Gabrielle Fishbaine, A Tale of Water, Waste, and Human Trace, Chair: Kyle Reynolds

Jacob Kleveland, Conventional Parts, Novel Spaces, Chair: Alex Timmer

[newyorktheater]

With two weeks left in 2018, it’s a time for assessments of the year in New York theater, for better and for worse.

  Top Ten Lists of Top 10 New York Theater 2018

“The Ferryman” was the most popular play or musical among critics whose top 10 lists for 2018 are featured below, followed by “Angels in America” and “Harry Potter and the Cursed Child.” Other shows that made at least four critics’ lists: “Dance Nation,”  “Three Tall Women,” and “Oklahoma!” It’s worth pointing out that five of these six favorite are straight plays; the most popular musical among critics was a re-conceived revival staged in Brooklyn.

  Poll: Worst Broadway Show of 2018

  Poll: Best Cast Recording of 2018

The Week in New York Theater Reviews

Nassim

“Nassim,” a play by Iranian playwright and performer Nassim Soleimanpour, is deliberately disorienting, both for the audience, who’s told virtually nothing about the show beforehand, and for the “guest” actor,  who is different for each performance…But if “Nassim” is an example of what you can call trickster theater,  with lots of teasing, it winds up not just clever, but charming, and even warm-hearted. And it offers several lessons, both literal and emotional, that illustrate how language can serve as both barrier and bridge between strangers.

The Net Will Appear

In Erin Mallon’s sweet, modest play, an unlikely rooftop friendship develops between a 75-year-old man and a nine-year-old girl.

Richard Masur is terrific (as always) in portraying Bernard, who sits on the roof of his home, dividing his time between drinking and bird watching. Rory, a talkative, precocious nine-year-old (portrayed by the precocious fifth-grader Eve Johnson), suddenly appears on the roof of the house next door, determined to engage her grumpy neighbor against his will.

Ruben and Clay’s Christmas Show

At the very end of their Christmas show, running through December 30th at the Imperial Theater on Broadway, Ruben Studdard and Clay Aiken together sing the 19th century Christmas carol “O Holy Night.” Their duet is so lovely and powerful it seems to pierce the heavens. It would be mean-spirited and inaccurate to say the two hours preceding it feel like a trip through hell. The feeling is more like a trip to the moon, since so much of “Ruben & Clay’s First Annual Christmas Carol Family Fun Pageant Spectacular Reunion Show” – which is the show’s official, and alarming, title – is made of cheese.

Springsteen on Broadway on Netflix

“Springsteen on Broadway” begins with The Boss explaining what it takes to play before “80,000 screaming rock n roll fans,” but the two-hour show is mostly a lesson in intimacy. This was true when he performed solo for 900 or so nightly audience members in Broadway’s Walter Kerr Theater, where it was supposed to run for just eight weeks, but closed last night after 14 months. It’s even more of a lesson, paradoxically, now that it’s playing for some 100 million streaming subscribers

Miranda in Mary Poppins Returns

Lin-Manuel Miranda in Mary Poppins Returns:What the critics say

  The Week in New York Theater News

After 15 years, Avenue Q will close in April. The musical about young adult puppets trying to make their way in the world began Off-Broadway in 2003, transferred to Broadway, won Tonys, and then moved back to Off-Broadway (at New World Stages ) in 2009.

Rebecca Naomi Jones as Laurey and Damon Daunno as Curley

There’s a bright golden haze back on Broadway! The sixth revival of Oklahoma!, this one the hip production from St. Ann’s Warehouse, will transfer to Broadway’s Circle in the Square opening April 7. The corn’s not as high in this version.

The Mother by Florian Zeller (author of The Father) about a woman adrift in middle-age, featuring Isabelle Huppert, Chris Noth, Justice Smith, and Odessa Young will be produced at the Atlantic Theater Company, February 20 to April 7, opening March 11

Roman Banks,20, has been hired as the understudy for Connor Murphy, Jared Kleinman…and Evan Hansen. “I’ve gotten endless amounts of messages from people of color, both young and old, telling me how much it means to them that I’ll be playing the role…”

One theater marketer discovers: Theater attendance drops in the three weeks before an election,

  Congratulations to the theater nominees of the 9th annual #clivebarnesaward:

Edmund Donovan (Lewiston/Clarkston), #IanDuff (Dutch Masters), @Will_Roland (@BeMoreChill ), and @aanavee (@CollectiveRage).

Award announced Feb 11 pic.twitter.com/B1aAd9lYi1

— New York Theater (@NewYorkTheater) December 12, 2018

Congratulations @harryphordHarrison for winning 2018 @relentlessAPF + $45,000 for his play “The Bandaged Place,” about an abusive relationship between two gay men. pic.twitter.com/QhyA02lmTU

— New York Theater (@NewYorkTheater) December 14, 2018

James Cusati Moyer and Ato Blankson-Wood

New York Theater Workshop is putting on a deliberately provocative play, Slave Play, and people are provoked. Apparently egged on by an article in MediaTakeOut (“the most visited African-American news network”) that attacks Jeremy O.Harris’s debut Off-Broadway play, the fury has gone viral on Twitter. It’s not clear that the most vociferous of critics have seen the play or even read the reviews that explain that the slave-master sexual couplings in the first half of the play turn out to be role-playing by 21st century interracial couples as part of their therapy.

It’s so surreal to me that after two weeks of having some of the most enriching and exciting convos with black people who felt seen, affirmed, and exhilarated by Slave Play. A couple loud idiots saw a post on MediaTakeOut and have decided to get fully psychotic in my mentions.

— Jeremy O. Harris (@jeremyoharris) December 14, 2018

Earlier this year, San Francisco’s Z Space launched its inaugural Problematic Play Festival. “I was much more receptive to plays that might have made me hesitant or offended me in different circumstance,” write Maggie Gaw, a literary manager who helped select scripts for the festival.

  Betty White, who’s been an entertainer for 80 years, explains why she’s never performed on Broadway. (they actually put this as a refrigerator magnet for sale)

Rest in Peace

Charles Weldon, 78, artistic director, Negro Ensemble Company. He was also an actor in such films as Serpico and Malcolm X.

Jazz singer Nancy Wilson, 81, whose albums included “Broadway — My Way”

Best and Worst New York Theater of 2018. #Stageworthy News of the Week. With two weeks left in 2018, it's a time for assessments of the year in New York theater, for better and for worse.

[larryland]

LOUDONVILLE, NY (February 11, 2019)-Siena Creative Arts and Stage III are proud to present the Multi-Award winning, Peter Pan prequel “Peter & The Starcatcher” adapted by Rick Elice from the beloved children’s book by Dave Barry & Ridley Pearson for seven performances 3/14-3/23 in Foy Hall. The production will be directed by Patrick White and feature 11 Siena students. Tickets are $15 General Admission, $12 Alumni, Faculty, Seniors, Staff, Veterans and $5 for Students and are available through Siena’s website www.siena.edu/creativeartstickets   There will be an Open Preview to the Capital Region theater community 3/13 at 8pm.

Peter & The Starcatcher is the critically acclaimed, multi-award winning adaptation of Dave Barry & Ridley Pearson’s 2004 Young Adult imagining of the origins of Peter Pan. The play follows the book’s fanciful creations and looks to answer the burning questions: How did Peter Pan get his name? How did he meet Captain Hook and why are they enemies? Who are Tinkerbell, Wendy and the Lost Boys, and where did they come from? And most importantly, how did he come to fly and why does he never want to grow up? The play uses the techniques of Story Theatre to deliver this picaresque tale of derring-do creating capsizing galleons, below decks intrigue, romance and mutiny and finally an exotic island populated by a fearsome tribe schooled in Italian cooking, a ferocious crocodile and perhaps a chorus line of mermaids. Telling this story with only household implements and tools emphasizes the line highlighted in the play “To have faith is to have wings” by asking the audience to suspend their disbelief and make the leap with their imaginations.

Peter & The Starcatcher has been delighting audiences since its much heralded and awarded 2012 Broadway run. Acclaimed directors Alex Timbers (Bloody, Bloody Andrew Jackson, Rocky) and the late, great Roger Rees (The Life and Adventures of Nicholas Nickleby) workshopped the Original production at Williamstown Theatre Festival where Rees was Artistic Director and San Diego’s La Jolla Playhouse and brought in Tony- winning playwright Rick Elice (Jersey Boys, The Cher Show) before opening the play to an extended sold-out run off-Broadway at the New York Theatre Workshop 2/18/2011-4/24/2011. The play eventually transferred to Broadway’s Brooks Atkinson Theatre the next season and ran for over 300 performances, running from 3/28/2012-1/20/2013. The play is the winner of three Lucille Lortel Awards, the Broadway.com Audience Choice Award for Favorite Play, Drama Desk Award for Music in a Play, Obie Award for Best Direction and winner of 5 Tony Awards (including Best Actor for Christian Borle as Black Stache) of the 9 nominated. Ben Brantley of The New York Times raved “With grown-up theatrical savvy and a child’s wonder at what it can achieve, Peter and The Starcatcher floats right through the ceiling of the physical limits imposed by a three-dimensional stage. While there’s not a body harness in sight, like those used to hoist the title characters of Mary Poppins and Spider-Man this show never stops flying.”

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Siena College is opening its doors and reaching out to the community in a major way with this production. Under the leadership of Dr. Krysta Dennis, Siena has hosted numerous local theater groups such as Acting Class with Patrick White, Black Theatre Troupe of Upstate New York, Consortium Actors, NorthEast Theatre Ensemble, Troy Foundry Theatre, and Will Kempe’s Players. The college has made many theatrical items available for use such as set pieces, furniture, lighting & sound equipment, props and handcrafted costume pieces. To celebrate the collaborative, inclusive and supportive nature of Capital Region theater and Siena College’s place in it, the production of Peter and The Starcatcher has several events planned:

A special invitation to past members of Siena Creative Arts productions, especially the dozens still powerfully active in the Capital Region theater scene.

A free open Preview performance 3/13 at 8pm open to all members of the Capital Region theater community.

A Production Team Talkback open to the public on March 13thfrom 12.30-1.30 in the Beaudoin Theatre with director Patrick White, costume designer Karin Mason, set designer Denise Massman, and lighting designer Mike Palumbo

In addition to the events planned the production features many active members of the Capital Region theater community. Dr. Krysta Dennis has directed numerous shows in the community and will be at the helm of NorthEast Theatre Ensemble’s An Ideal Husband 4/11-4/28 at Ten Broeck Mansion. Patrick White is a veteran of over 20 years of Capital Region theater, most recently Gloria at Albany Civic Theatre named one of the years best by The Daily Gazette. Movement Coordinator Stephanie Weber-Remmert is an active member of Creative Action Playback Theatre and performs in their monthly Friday night show. Maria Riccio-Bryce is a veteran of dozens of area productions and created the original musical Hearts of Fire.

Featured in the cast are Max Adelman as Lord Aster, Liam Antonopolous as Smee, Alyssa Bergman as Ted, Claudia Cellucci as Alf, Nora Collins as Molly, Will Curley as Black Stache, Dominic DiCaprio as Peter, Fiona Hoye as Mrs. Bumbrake, Connor Rock as Slank, John Ruquet as Prentiss & Sarah Wilson as Grempkin.

Behind the scenes Dr. Krysta Dennis is the Producer, Patrick White is Director, Maria Riccio-Bryce is Musical Director, Stephanie Weber-Remmert is Movement Coordinator, Obadiah Savage is Technical Director, Denise Massman is Set Designer, Michael Palumbo is Lighting Designer, Karin Mason is Costume Designer, Heather Frederick is Stage Manager, Hunter Frederick is Assistant Director and Michael Lounello is the Theater Technology Manager.

ABOUT SIENA CREATIVE ARTS: The Siena Creative Arts Department seeks to engage students with works of the creative imagination, and develop within them an aesthetic appreciation of the arts. Creative Arts programs in Theatre, Music, and Visual Arts encourage the unlocking and development of students’ own creative potential and skill.

ABOUT PATRICK WHITE: Patrick White is a Capital Region actor/director/teacher whose directing credits include: ACT-“The Pope & The Witch,” “Suddenly, Last Summer,” “Grand Concourse” (10 Best-The Daily Gazette), “Appropriate,” “Gloria” (10 Best-The Daily Gazette),  CCT-“Clever Little Lies,” “Living On Love,” “The Importance of Being Earnest,” GPH-“True West,” HMT-“The Foreigner,” NSCP-“The Glass Menagerie” (TANYS Award), SCP-Rapture, Blister, Burn” (10 Best-The Daily Gazette), “An Inspector Calls” with a cast of all actors of color. SLCA-“John Ball’s In The Heat Of The Night” (10 Best-Berkshire On Stage, TANYS Award), “MEN ON BOATS” (10 Best-Berkshire On Stage). He writes a column on theater for The Collaborative, teaches a Saturday morning acting class for all levels and attends plays religiously, over 250 last year. info@actingclasswithpatrickwhite.com

ABOUT DR. KRYSTA DENNIS: Krysta is producer of Creative Arts at Siena, and works as a theatre-maker and director in the US and internationally. Krysta holds a dual PhD from the University of Kent in the UK and the Sorbonne in Paris, and trained as a performer at L’Ecole Jacques Lecoq. She is the author of three plays, Votes for Women, The Burden of the Ballot, and Dutch, which have been produced at Siena College, Arts Letters & Numbers, the New York State Attorney General’s Office, the Arkell Museum, Historic Cherry Hill, Ten Broeck Mansion, and the New York State Museum. She has received several Humanities NY Grants for her work. Krysta enjoys experimenting with theatre technology including video mapping, augmented reality and virtual reality. In summer of 2018, Krysta headed up a group of student playwrights working with the Center for Undergraduate Research and Creative Activity and the Underground Railroad History Project on an original play entitled Yours for the Oppressed, which will be produced in the spring at the Harriet and Stephen Myers Residence. Recent directing credits include: Marjorie Prime (Theatre Voices), Aleda (chamber opera premiere, Musicians of Ma’alwyck), Arcadia (Siena College), The Little Foxes (Ten Broeck Mansion and Northeast Theatre Ensemble), Blithe Spirit (Theatre Voices), Design for Living (Village of Colonie Summer Theatre in the Park and Siena College), and Through the Grapevine, A Performed Wine Tasting (Lumley Theatre and Canterbury Festival).  Krysta also works with AT&T and the Siena College Research Institute training Siena students in forum theatre techniques to be used in middle and high schools as part of an anti-cyberbullying initiative. She has published with Contemporary Theatre Review, Interdisciplinary Network, Routledge, and the Pirandello Society of America. www.krystadennis.com

Siena Creative Arts and Stage III Present “Peter and The Starcatcher” LOUDONVILLE, NY (February 11, 2019)-Siena Creative Arts and Stage III are proud to present the Multi-Award winning, Peter Pan prequel "Peter & The Starcatcher" adapted by Rick Elice from the beloved children's book by Dave Barry & Ridley Pearson for seven performances 3/14-3/23 in Foy Hall.

[klatrans]

Albuquerque Chinese New Year Kung Fu Celebration 2018

Albuquerque's own Martial Artistry Shaolin Kung Fu and Chinese Wushu presents our 17th Annual Chinese Lunar New Year Celebration!

Please enjoy these highlights from our Year of the Earth Dog show, loaded with kung fu, wushu, lion, dragon and flag dancing. Enjoy a bit of China without ever leaving New Mexico in this show our students put together to launch the new year in style. And, if you're ever in the neighborhood, check us out. We offer classes for ages 4 and up, and you can even try a class for free. Call 872-4950 or check out our website at www.martialartistry.com to learn more.

OUR PLAYERS:Keith Weber: spring leg (弹腿 — tan tui), lion dance

Monique Renee Curley: double straight sword (双剑— shuang jian), wind and fire wheels (风火轮 — feng huo lun), flags

Lydia "Mei-Mei" Eggert: cannon fist (炮拳 — paoquan), sound whip (sheng bian 聲鞭)

George Bennett: fighting set (对练 — duilian), staff (棍术— gunshu), drum

Connor Bennett: Shaolin kung fu (少林功夫), fighting set (对练 — duilian), cymbals

Dorothy Stender: straight sword (剑术— jian shu), staff (棍术— gunshu), flags

Ellie Wilson: staff (棍术— gunshu), broadsword (刀术 — dao shu), lion dance

Lee Ann Haluska: lightsaber, praying mantis boxing (螳螂拳 — Tang Lang Quan)

Lily Waterman: spring leg (弹腿 — tan tui), Xiao Long Si,   小龙四 (Little Dragon Four), flags

Morgan Waterman: 小龙四 (Little Dragon Four), fight set (对练 — duilian), lion dance

Savannah Davidson: (弹腿 — tan tui), flags

Ivana Georgievova: (弹腿 — tan tui), Xiao Long Si,   小龙四 (Little Dragon Four), flags

Saskia King: spring leg (弹腿 — tan tui), kung lik kuen, ceremonial gong

David Waterman: (弹腿 — tan tui), Xiao Long Si,   小龙四 (Little Dragon Four)

Carley Maze: 小龙四 (Little Dragon Four), fight set (对练 — duilian), lion dance

Christina Maze: spring leg (弹腿 — tan tui), kung lik kuen

Lawson Maze: cartwheels, gongTodd Coffey: fighting set (对练 — duilian), long fist (长拳 — chang quan), flags

Silvia Coffey: fighting set (对练 — duilian), spring leg (弹腿 — tan tui), lion dance

Lucy Pino: Xiao Long Si,   小龙四 (Little Dragon Four)Ed McGinnis: broadsword (刀术 — dao shu), double-head spear (双头枪 — shuangtou qiang), flags

Edi Juares: lion dance, whip chain (節鞭 — jie bian), long fist (长拳 — chang quan)

Dani Juares: lion dance, drunken fist  (醉拳 — zuiquan), long fist (长拳 — chang quan)

James “Sparky” Esparza: staff (棍术— gunshu), three section staff (三節棍 – sān jié gùn)