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Archive for the ‘Music’ Category

Your Record Collection Just Got a Little Saltier

Posted October 19th, 2017

This Friday night, FringeArts’ monthly series of sexy, satirical, queer, and tantalizing cabaret returns to the La Peg stage to kick off it’s fall season. Hosted by Bearded Ladies Cabaret artistic director John Jarboe and co-presented by the William Way LGBT Community Center, this season of Get Pegged features some powerhouse performers from Philadelphia and New York.

October’s featured performers include a “stripped down” assemblage—if that means acoustic or naked is being left unanswered—of Philly’s favorite musical misfits ILL DOOTS, performing two tight sets of original tunes and covers around the notion of “Passion.” Where that will take them is anyone’s guess, all they’ll say is, “We’ll experience several forms of passion together that culminates into what we can only hope is a sweet release.”

Salty Brine in Second Hand News, a reinterpretation of Fleetwood Mac’s Rumours through the lens of sensationalist news and gossip.

This month’s other featured performer, the out-of-towner of the bunch, is New York cabaret artist Salty Brine. Astute Fringe attendees may recognize him as the boisterous but wise host from the 2016 Festival hit The Elementary Spacetime Show, but the talented actor and playwright has made his name as an inventive cabaret artist as well for his own ongoing series, Salty Brine’s Spectacular Living Record Collection, which he’ll be performing an excerpt from at Get Pegged. Journeying into the heart of popular music and consciousness, Salty takes classic albums from legendary artists and twists them in style and form, building spectacular and unexpected theatrical worlds for these well known works to inhabit. These are places where they can be appreciated in an entirely new light and he can weave his own personal, historical, and fantastical narratives into our shared musical history.

The first installment of the series, Abbey Straße, took the music of The Beatles’ Abbey Road and reimagined it as a scandalous German cabaret styled in the spirit of Brecht and Weill, Marlene Dietrich, Ute Lemper, and others like them.

Salty has used many albums as a jumping off point to explore queer narratives, including his take on Cyndi Lauper’s debut She’s So Unusual, retitled He’s So Unusual. Told from the perspective of a “1930s pansy,” the charming, well-coifed gentleman takes audience members on a leisurely stroll through Prohibition-era New York’s bustling underbelly.

More recently, Salty has pulled more contemporary albums* into his repertoire. Last summer he sculpted Neutral Milk Hotel’s melancholic epic In the Aeroplane Over the Sea into a fittingly whimsical and devastating voyage through time and space and embarrassing journal entries, all of it haunted by ghosts of WWII.

His most recent installment took Harry Nilsson’s sublime hit album Nilsson Schmilsson and dropped it into the wild world of Kipling’s The Jungle Book, which itself is repositioned within the bucolic forestry of New Hampshire. It remains a mystery which show in the series he’ll be pulling from this Friday, but whatever he chooses is sure to delight cabaret and music fans alike, regardless of whether they’ve heard these albums one too many times. It’s amazing what a sprinkle of salt can do.

—Hugh Wilikofsky

 

*Actually, not very contemporary at all, I’m just getting older.

There’s Nothing Called African Music: A Conversation with Olivier Tarpaga

Posted October 12th, 2017

“Dance and music are one in our tradition, and they come in one body.” This is what Burkina Faso-born dancer, choreographer, musician, and composer Olivier Tarpaga offers when asked about the relationship between the two mediums in his latest show Declassified Memory Fragment. Positioned as an “open letter” to life in a few African nations that have experienced cultural and political tumult over the last several decades, the piece opens tonight and runs from Oct 12-14 here at FringeArts. As the dancers move throughout the performance space, a group of virtuosic musicians play from the sidelines, informing the dancers’ movements and energies. “Live music affects everything and the dancers feel different and create different when the music is live,” Tarpaga asserted in a previous interview. Live music has always been a hallmark of Baker + Tarpaga Dance Project, likely because music has always been a hallmark of Tarpaga’s life.

Growing up in Burkina Faso, Tarpaga didn’t have to look far to find great music. His father was a saxophonist and the leader of Supra Volta, a popular band that played West African musics with modern instrumentation, even a rhumba influence. They were active throughout the ‘60s, soon after the country gained its independence from France, and often played for heads of state and dignitaries. They were based out of an empty bedroom inside the Tarpaga household, and young Olivier couldn’t help but be drawn to their infectious tunes.

“I’d just walk there and listen to them, and they’d all walk out—somebody was smoking a cigarette, everyone was talking—and then I’d go in with my brothers and we’d start banging on everything. I was always on the drums.” In the ensuing chaos things would get broken, and as a result he was often in trouble with his father. Even so, he simply couldn’t get enough. “Music was an addiction,” he said, and though he’d repeatedly beg his father to teach him to play, he’d always be told to study his math and science, that music would have to wait. Even when his father was teaching Tarpaga’s brothers to play saxophone—despite their total lack of interest—he was still pushed to focus on math and science. Nowadays, he’s the only musician in the family.

Tarpaga’s instrumentation of choice is percussion. He’s a master of the djembe as well as an unconventional virtuoso on the calabash, a large gourd utilized for many different instruments in West Africa traditions that also serves as an excellent drum. Back in 1995 when Tarpaga first came to the US he formed his still active musical outfit, the largely drum-based ensemble Dafra Drum. Named for the Dafra River, one of Burkina Faso’s most sacred rivers located in the city of Bobo Dioulasso, the group performs traditional dance and drumming from the Djeli/Griot tradition of West Africa. Tarpaga says he felt he had to attach “drum” to the name to make their musical identity clearer to Western audiences, but playing into uninformed notions of “African music” unfortunately opened the door for stereotyping. “I’d go to so many countries where there’d be a company from Brazil, a company from the US, a company from Japan, and then we were the company from Africa. I’d say ‘Why do you say Africa? Why do you think Africa is just Africa? You speak African? There’s nothing called African.’”

This frustration over the years led to the creation of Dafra Kura Band in 2011, “kura” meaning new. Tarpaga wanted to present the musics of contemporary Africa, the musics bumping in the clubs of his native Burkina Faso. Whereas Dafra Drum is about 70% drum-based, Dafra Kura Band is only about 20% drum-based, aimed more at showcasing the other beautiful acoustic instruments that have been a part of many West African cultures for centuries and continue to be integral to their musics. The band’s sound fuses styles like afrobeat, desert blues, and hip-hop, among others, in turn defying easy classification. This is, perhaps, in part because of Tarpaga’s wonderfully cavalier approach to music making.

While many calabash players use their hands or tools like special percussive rings, Tarpaga prefers chopsticks, something his kora player—a master Griot, or West African historian, storyteller, poet—claims to have never seen before. This is exemplary of the imaginative, unconventional creativity Tarpaga exhibits in his music. Though a highly skilled percussionist, he didn’t study music in an institutional setting and thus never learned about composing for other acoustic instruments. Instead of notating each players parts, he vocalizes the sounds rolling around in his head and his virtuosic bandmates translate his vision to their instruments. This wouldn’t work nearly as well if it wasn’t for the clear chemistry between the performers, as well as Tarpaga’s impressive ability to vocalize complex, speedy rhythms and tones. It’s a much more collaborative, joyful process than we are often led to believe the composer-musician relationship looks like, and that kind of spontaneous energy is infectious and something that lends itself to the creation of movement and theater.

For Declassified Memory Fragment music has been, from the beginning, and integral aspect of the piece. “All rehearsals have dancers and musicians, since day one,” Tarpaga says. Though it sometimes made for a chaotic process, forcing him to jump back and forth from playing composer to choreographer, the results are tremendous. More than other traditions of music and dance, in many West African nations the two are truly intertwined. A dancer won’t feel the immediacy, the tension of a centuries-old traditional war song if the kora that’s sounding it is playing off of a CD through boom box speakers. With music this spirited, this beautiful, this present, this engrossing and movement to match, they had to materialize together, have to coexist on stage as they do.

—Hugh Wilikofsky

Recapping Opening Night of The October Revolution

Posted October 6th, 2017

Last night, The October Revolution kicked off in revelatory fashion. The festival, organized by Ars Nova Workshop and co-presented by FringeArts, runs through the weekend and is named in tribute to a revolutionary 1964 DIY jazz festival of the same name, curated and produced by the late legend Bill Dixon. With a lineup featuring some of the most thoughtful, adventurous music inventors and performers of our time, from across a diverse range of genres that span jazz, free improvisation, and contemporary classical and radiate outward, it’s a new music festival of a caliber rarely seen in our city, one where the act of “listening”—not for anything specific, but rather the experience of the act—is paramount.

Opening the festival was Karuna, the duo of longtime friends and collaborators Hamid Drake and Adam Rudolph, here made a trio with the addition of master multi-instrumentalist and Rudolph collaborator Ralph Miles Jones. It’s a shame that there are no official recordings of this unit because their set was utterly engrossing from beginning to end, moving fluidly through musical styles and instrumentation, and, in a way, exemplifying the festival’s emphasis on listening.

Drake and Rudolph are two of the most innovative, influential and creative percussionists of the last century and their friendship goes all the way back to a chance encounter at a downtown Chicago drum shop when the pair was just fourteen. From there they’d both go on to collaborate with a veritable who’s who of mid-century jazz legends, including Don Cherry who they both toured with for some time. In 1977 the pair joined Gambian musician and composer Foday Musa Suso to form the Mandingo Griot Society, a unit that explored and fused West African and American musical idioms, and one that is credited as an early “world music” innovator. While that’s a pretty loaded terms these days, back then the idea of melding non-Western musical instrumentation and idioms into Western styles had yet to be so rampantly, clumsily trodden. Rudolph in particular helped pioneer this kind of experimentation, and the arsenal of instruments he had at his disposal last night was exemplary of the breadth of his musical fluency. The same was true for Jones—a composer, educator, ethnomusicologist, and multi-diasporic aerophonist—who had an array of wind instruments from a variety of musical traditions at his side that he’d pick and choose from throughout the evening.

From the get go this trio’s near-telepathic chemistry was apparent. Spread out among the many chairs, stands, and instruments awaiting the evenings headliner, each player had no need to look at each other to coordinate. The level of deep listening and musical sensitivity they were exhibiting was astounding and it was exhilarating to watch them pick up the subtlest of cues from each other and effortlessly follow suit. The music was at times delicate—such as when Drake and Rudolph both provided a thumb piano backing to Jones’ soprano sax soloing or when Rudolph brought out a sintir and throat sang or when Drake virtuosically pattered a frame drum—and at other times raucous, propulsive. Watching Drake and Rudolph exchanging amused glances as they steadily upped the rhythmic ante while going all in on their drum kit and hand drum set, respectively, was a real joy and felt like a peak into the rapport of these two old friends.

After a short break allowing everyone a chance to get a beer in hand, audience members packed back into the theater for what was sure to be an (inter)stellar experience. Playing to a full house and a full moon, the Sun Ra Arkestra brought down the house, as they always do, with a joyous performance centered around their seminal 1973 album Space is the Place.

A mid career highlight within Sun Ra’s dauntingly vast discography, the album serves as an ideal entry points for those unfamiliar with the Arkestra’s essential works. Each track is varied in style and imbued with some hallmark of Sun Ra’s singular musical vision. “Images” is a classic, swinging tune, albeit in a wonderfully raucous fashion. There’s a strain of Egyptian exotica running through “Discipline.” “Sea of Sounds” is a total, futuristic, free jazz mind-melter. The frenetic “Rocket Number Nine” captures the Arkestra in a characteristic freewheeling, humorous form that plays like (and actually is) a much more out there version of Sun Ra’s work writing music for doo-wop and vocal groups in the mid-‘50s. And of course, there’s that most classic of cuts, the titular opening track that feels about as exemplary of Sun Ra’s vision as a single track can get. Suffice it to say it does fall pretty short of capturing it all, but what one song wouldn’t?

As the sixteen-piece entered the theater—draped in their iconic, dazzling Afrofuturist attire—they wasted no time getting situated. No sooner had a performer taken their seat than they launched into a spot on rendition of “Images” that got the audience moving in their seats and allowed them to appreciate the accretion of sounds as instruments steadily joined the party. Bandleader Marshall Allen—the legendary, 93-year-old(!) alto saxophone player and EVI adept who’s been with the Arkestra since it’s earliest days, assuming leadership after Sun Ra’s earthly departure in 1993—was as attuned to the Arkestra’s many moving parts as ever, conducting with steady sweeps of his arm even as he wailed on his sax. Alongside the album cuts, they performed two other highlights from the history of the Arkestra: “Angels and Demons at Play” from the album of the same name, featuring music by Allen and words by Sun Ra, and a song by the great former Arkestra member and jazz innovator Phil Cohran who sadly passed away earlier this year. It’s always astounding how much jazz history gets woven into an Arkestra set, how many luminaries who’ve passed through their ranks are paid tribute, but it’s all owing to the fact that the group has been such an essential part of jazz history for more than half a century.

I’ve always found seeing the Arkestra to be a musically rejuvenating experience. The first time I saw them came at a point when I was feeling less and less engaged by the live music I’d been witnessing, even less and less interested in the recorded music I’d been consuming. But once they got going, I let go of all that negativity. Even some 60+ years into their existence, they never fail to get audiences beaming and swinging, and last night was no exception. A fitting way to kick off a weekend packed with such monumental music.

—Hugh Wilikofsky

All photos by Hugh Wilikofsky.

Fragments of Unrest: An Interview with Olivier Tarpaga

Posted October 4th, 2017

Co-founder of the Baker + Tarpaga Dance Project, Olivier Tarpaga is both a choreographer and a musician who brings together disparate nations and identities to create powerful and meaningful performances. Working with his partner, Esther Baker-Tarpaga, the duo have generated a project-centered, transcontinental company that is based in both Philadelphia and Ouagadougou, Burkina Faso. Their work has been noted for its intensity that “proved unforgettable” (Los Angeles Times) and for their projects that “metaphorically and abstractly decenter whiteness” (The Dance Journal). In their newest work, Declassified Memory Fragment, Olivier “declassifies,” or uncovers, experiences that many in Burkina Faso have lived through that are hidden from the world. Through the melding of dance and music, Olivier Tarpaga has created an exhibition of the memories of men in political military unrest from the many uprisings within Burkina Faso. We got the chance to talk with him about his process in creating the work and the contexts that informed it.

FringeArts: Do you remember how the title Declassified Memory Fragment came into being?

Olivier Tarpaga: It came to me during a research trip in Kenya in 2010. I grew up in Burkina Faso and have witnessed military coups in 1980, 1982, 1983, a very bloody one in 1987, and the revolution in 2014. This piece is addressing the issues of military coups. The irony is that in 2015 a coup in Burkina Faso happened the day of the avant-premier of this very piece at Denison University in Ohio. It felt like history revisited. Our country has been independent from France since 1960 and there are many fragments of my childhood memories during this time of political instability. I wanted to bring this issue into the open air and expose it with an artistic approach.

FringeArts: How did the choreography come about?

Olivier Tarpaga: I began the piece in Ouagadougou, Burkina Faso. With my cast we first began with speaking about the politics of ethnic conflict during the Kenya election and Ivory Coast war. We spoke about our memories and knowledge of the war zones. Several cast members grew up in conflict zones and their families were directly affected. I gave specific tasks, images, gestures and directions to research movement based on memories and experiences of different conflicts in the region. I then selected, transformed and composed phrases based on themes and emotions. We worked with live musicians creating the work and making solos, duets, and group work.

FringeArts: What made it important for you that it was an all-male dance troupe?

Olivier Tarpaga: This is purposeful because all these conflicts and wars we are focusing on were all created and directed by men. Men fighting for power. I am pro-feminist and thus I am specifically making a critique of men creating violence to grab more power. This is our first project with only men. Our company is not all-male, in fact it is founded by Esther Baker-Tarpaga and I. We frequently have mixed gender casts.

FringeArts: Can you describe how you approached the on stage relationship between the musicians and dancers? 

Olivier Tarpaga: In the context of West African tradition, music and dance are one. One does not exist without the other. I grew up in traditional and contemporary contexts. I am equally and musician/composer as dancer/choreographer. Live music affects everything and the dancers feel different and create different when the music is live. Once the movements are solid, it informs and inspired specific musical solo written for specific moments and emotions. Live music is a signature of Baker & Tarpaga Dance Project.

During the October 2014 revolution, an unarmed million marchers walked with their hands up towards parliament in Ouagadougou to stop an unconstitutional vote for the regime to stay in power. They were faced by heavily armed soldiers. When the army opened fire, there was no distinction of religion, ethnicity, class, sex or age. It was a blend of determined citizens. This is what inspired me to have the musicians sometimes invade the stage, perform physically and theatrically this way with the dancers in DMF.

FringeArts: What were you discussing the most during rehearsals with your dancers and musicians? 

Olivier Tarpaga: A lot of events happened in the continent during the research and creation process of the work between 2010-2015. We spent a lot of time sharing information and memories of wars, military coups and also sweet experience about what makes Ouagadougou and other African cities special despite the political instabilities. I was equally choreographing and composing the music so the whole cast would be on stage during such moments.

FringeArts: What aspects were most important for you to fine tune once the show was otherwise created?

Olivier Tarpaga: We had multiple showings of the work in Burkina Faso and received constructive feedback with people from all walks of life. The motorbike props bringing a nostalgic image of the city of Ouagadougou and the imposing set symbolizing the sandy roads and winds of the Sahel region. The white and red flower petals falling from the sky and the acclaimed Paris based lighting designer adding the cherry on the cake with his fine touch and radical ideas.

 

Declassified Memory Fragment
Baker + Tarpaga Dance Project

Oct 12 at 8pm
Oct 13 at 8pm
Oct 14 at 8pm

$29 general
$20.30 members (Click here to join and save 30% on tickets to all shows!)
$15 students & 25-and-under

TICKETS + INFO

—Interview by Josh McIlvain, June 2017.

Alone Together at Close Music for Bodies

Posted September 20th, 2017

I’ve found myself thinking a lot about sonic resonance lately, due in no small part to some recent visits to La Monte Young and Marian Zazeela’s installation Dream House. Various incarnations of this sound and light environment have been mounted by Young—a revered minimalist composer, some say the first—and Zazeela—a light and visual artist and musician— around the world since 1969. The MELA (Music Eternal Light Art) Foundation Dream House at 275 Church Street in New York City has remained in that space for the last 25 years, the couple’s longest installation to date. It is a room of infinitely repeating cycles of sound and light frequencies, one that transcends its overwhelming, lower Manhattan surroundings.

During my first visit, initially the sounds contained therein were not as pleasant as I expected, grating even. It took a few minutes to acclimate, but once my eyes adjusted to the dreamy, pink and purple hued lights and my body to the drone reverberating through it, the experience was unlike much else. Speakers are directed such that where you position yourself in the room determines what you hear. You can even opt to just sit down on the lush carpeted floors and loll your head to witness the difference, exhibiting just how spatially specific the installation is.

I couldn’t help but recall this experience when observing a rehearsal of Close Music for Bodies on a rainy afternoon some weeks back. The piece from sound artist Michael Kiley premieres September 20th and runs until the 24th, part of the 21st annual Fringe Festival, and much like Dream House it calls attention to the infinite amount of unique experiences that structured sound can offer in a live setting. That’s about where the similarities end. Whereas the experience of Dream House is a solitary one, Close Music for Bodies is a communal, deeply humane work that wrings beauty out of the limitations of perspective.

Central to Close Music is Kiley’s voice practice, Personal Resonance. “My primary goal with teaching is to have the student understand that the real beauty and benefit of voice has nothing to do with how you sound, and everything to do with how your voice can make you feel physically—and therefore mentally,” he recently told the FringeArts Blog. “Once someone understands how to control that physical sensation, their voice becomes as accessible as breathing.” This democratization of singing is integral to the performance and bolstered by the democratization of the space itself.

Once the piece kicks into motion, the shuffling about of cast and audience rarely ceases. At various intervals throughout the duration the performers guide audience members into various formations and in turn have to constantly navigate around them. These are all very conscious, choreographed movements, shaped with the help of choreographer Sean Donovan, director Rebecca Wright, and the performers themselves. Explaining the team’s close attention to movement, Kiley told us in that same interview, “I’ve been thinking of the movement as sound design—like speaker placement, only my speakers happen to be performers.”

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John Szwed: Notes on John Coltrane’s A Love Supreme

Posted September 19th, 2017

This is a guest post written by anthropologist, writer, and jazz scholar John Szwed. He has taught Anthropology, African American Studies, and Film Studies at Yale University as well as Music and Jazz Studies at Columbia University where he served as Director of the Center for Jazz Studies. He has published many books on jazz and American music, including studies of Sun Ra, Miles Davis, Jelly Roll Morton, Alan Lomax and Billie Holiday. On Sept 23, he will interview Salva Sanchis, co-choreographer of A Love Supreme, at the FringeArts Bookstore.


On December 9, 1964, the members of the John Coltrane Quartet crossed the river from New York to Rudy Van Gelder’s studio in Englewood Cliffs, New Jersey. It was night, because producer Bob Thiele preferred to work after the ABC-Paramount executives had left for the day; he could then avoid having to explain what he was doing. The quartet arrived at 7 o’clock and left before midnight, completing the entire recording of A Love Supreme with few retakes or edits, something quite extraordinary for a piece that long and complex, and without rehearsal.

Manuscript of A Love Supreme, by John Coltrane, 1964. Photo by The National Museum of American History.

More remarkably, there was no written music prepared for the session, only a chart that Coltrane had made to remind him of the structure. The musicians followed his directions, most of which were not spoken, but came from what they heard him playing. They were collectively composing by improvising together, creating a 33-minute art work, risking everything as the tape continued to roll. Musicians have improvised collectively since the beginning of jazz, but never for such a sustained period with no given harmonic structure and no agreed-upon melodies or rhythm. Bob Thiele was there, but unlike other producers he sat back and listened. His trust in Coltrane was such that he gave John control over what he recorded and when, an arrangement that no one in the music business short of a Frank Sinatra might have had. Thiele did not always understand John’s music, because it changed so rapidly and radically. Still, his belief was so strong that he defended anything Coltrane recorded to the company, both financially and musically. But A Love Supreme would not need defending.

While he was still living in Philadelphia and becoming a member of the Miles Davis Quintet, John Coltrane was controversial. To some his playing was meandering, boring, and harsh, even described as anti-jazz. Once, when French CBS received the master tapes for a Miles Davis Quintet recording, they complained to Columbia Records in the US that there was electronic distortion during Coltrane’s solos. But to others, he was a revolutionary—an intense, yet disciplined master, whose music carried the message of struggle and resistance, and was theme music to the Civil Rights Movement. But Coltrane saw a spiritual dimension to what he was doing, a means to peace. When Impulse Records placed ads in Rolling Stone calling it “fire music,” grouping him with the protests of some other black free jazz musicians, he distanced himself from such claims.

In 1957 Coltrane experienced a spiritual awakening of such force that he ended his addictions, reset his life, and with this recording he sought to signal his conversion musically, to testify to his encounters with God. When A Love Supreme appeared in February of 1965 his harshest critics were silenced, and for the first time he received virtually universal praise (though a few were put off by the confessional spirituality of his poem included in the album’s notes; it was too much for high modernists and hipsters). The album cover was black and white, a stark departure from all other Impulse records that were trimmed in orange and black.

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A Guide to Megapolis Audio Festival, Pt. 4: Installations and Digital Works

Posted September 14th, 2017

From September 16-17 the fifth Megapolis Audio Festival will descend upon Philadelphia, drawing world class musicians, sound artists, radio producers, and all around audio adepts to join the artistic frenzy that is the Philadelphia Fringe Festival. Much like the 2017 Festival’s program, Megapolis’ schedule of events might appear a little daunting at first glance, so to help you navigate it we at the FringeArts Blog are going to break it all down for you into some easily digestible categories. Follow these links to Parts 1 (sound tours), 2 (performances), and 3 (workshops).

For our final installment, we’re looking at installations and digital works from artists who approach sound through a multitude of different avenues. Many of these artists use sound as a medium explore everything from the overlooked sounds of our daily lives, to Misophonia, to the Jewish Viennese exile during the Holocaust. Some, on the other hand, have created glorious, thought-provoking, and purely multi-sensory works.

 

Installations

The Philadelphia Embassy of the Kingdoms of Elgaland-Vargaland (KREV)
Mike Bullock & Linda Gale Aubry
Sept 16-17 @ A surprise location
The Kingdoms of Elgaland-Vargaland (KREV) were founded in 1992 by Swedish artists Carl Michael von Hausswolff (King Michael I) and Leif Elggren (King Leif I) and occupies all border territories as well as liminal states and virtual territories. Excited for Megapolis to begin, the Philadelphia Embassy of this great nation would like to celebrate the festival’s arrival. Ambassador Mike Bullock (who is also a composer, writer and intermedia artist) and Minister of Ornamentation Linda Gale Aubry (also a musician and a multimedia artist) will appear at some point during the festival, with appropriate pageantry, to give renditions of the multifarious KREV National Anthem.

 

Filtered Ears
Scott Allison
Sept 16 & 17, 10am-5pm @ PhillyCAM
A mic’d window becomes a filter for everyday, oft-ignored sounds. Channeled through tiny speakers powered by handmade, 1-watt amplifiers encourage guests to listen closely for these delicate, overlooked sounds. An installation created by graphic designer and sound explorer Scott Allison, who also makes music solo with electronics and in free rock outfits Sunburned Hand of the Man and Kohoutek.

 

Fascists, Lovers, and Other Lonely Ghosts
Brian House
Sept 16 & 17 @ PhillyCAM
Brian House is a Providence-based artist whose performances, installations, and interventions address our relationship to technology through rhythm. This particular installation deals with notions of synchronicity, conflict, and transmission. On a screen small entities beep and flash like fireflies “listening” to each other. Based on proximity, they will fall in and out of unison. Viewers can disrupt their relationships by moving them around to create a cascade of rhythms.

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A Guide to Megapolis Audio Festival, Pt. 3: Molding Sounds

Posted September 13th, 2017

From September 16-17 the fifth Megapolis Audio Festival will descend upon Philadelphia, drawing world class musicians, sound artists, radio producers, and all around audio adepts to join the artistic frenzy that is the Philadelphia Fringe Festival. Much like the 2017 Festival’s program, Megapolis’ schedule of events might appear a little daunting at first glance, so to help you navigate it we at the FringeArts Blog are going to break it all down for you into some easily digestible categories. Follow these links to Parts 1 (sound tours), 2 (performances), and 4 (installations and digital works).

For Part 3 we’ll be taking a look at workshops where pass holders can get hands on experience with some complex hardware, learn more about the art of radio storytelling, and more.

 

Voltage is Sound, Voltage is Drawing
Tim Nohe
Sept 16, 11am @ PhillyCAM
This hands on, all ages workshop encourages participants to experiment with live technological art to create mathematically derived music and drawings. Led by artist, composer, and educator Tim Nohe, the workshop is rooted in expressive drawing, fascinating mathematical discoveries of the 19th century, and the “switched-on” synth music of the 1960s. Participants will experiment with a range of electronic tools from various eras. Compose electronic drawings on an ‘80s era Vectrex game box by controlling a modular synthesizer. Utilize wireless infrared controllers, iPad apps, and touch sensors to shape sounds and draft kinetic drawings.

 

Blinks, Bleeps, and Bits in the Wild: Breaking the boundaries of littleBits
Ed Bear and Monty Kim
Sept 16, 1pm @ Community College of Philadelphia
littleBits makes technology kits composed of electronic building blocks that empower everyone to create inventions, large and small. To go really large, however, requires some experience, which this workshop will provide. Led by littleBits designers Ed Bear and Monty Kim, participants will be introduced to basic programming, soldering, and design skills. They will learn how to unlock the powerful control, audio synthesis, programming, and connectivity of littleBits to build large multi-channel sound systems, interactive LED sculptures, Bluetooth controlled motors or generators, and whatever else they can invent. No experience necessary.

 

Makin’ Radio Ravioli
Olivia Bradley-Skill
Sept 16, 1pm @ PhillyCAM
New York based radio producer and sound artist Olivia Bradley-Skill breaks down the nuts and bolts of cut-ups and sound collage and discusses how different sounds marinate together to tickle the ears and echo the extremes of our subconscious. Utilizing sound effects, cut-up speech, and music, nonsense will turn from goofy to maniacal, organic to robotic, and the other way around. At the end participants will build their own collages that create new meanings and flavors.

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2017 Festival Spotlight: Created by People of Color, Pt. 2

Posted September 12th, 2017

Disrupting the pervasive whiteness of Fringe, these artists are breathing fresh air in to the new works scene in Philadelphia with these exciting Festival offerings!

We Shall Not Be Moved @ Wilma Theater
Opera Philadelphia

What’s at stake here is America and its future. Who’s invited to participate?

On the run after a series of tragic incidents, five North Philly teens find refuge in an abandoned house in West Philadelphia at the exact location that served as headquarters of the MOVE organization, where a 1985 standoff with police infamously ended with a neighborhood destroyed and eleven people dead, including five children. This self-defined family is inspired by the ghosts who inhabit this home and begin to see their squatting as a matter of destiny and resistance. The group, named the Family Stand, is headed by self-appointed leader Un/Sung, and crosses paths with Glenda, a Philadelphia police officer, whose encounters with the family leads to a standoff that could threaten to repeat history. A co-presentation with Opera Philadelphia. More info and tickets here.

 

Andean Mountains (Montañas Andinas)
Carl(os) Roa, José Avilés, Elyas Harris

Andean Mountains is a digital journey through the mountains. Above all, it is a piece about personal geography: the way we relate to our place of origin versus where we’ve relocated. Featuring a performance by a juicy Colombian bear, the piece is both a Google Street View tour as well as an exploration of culture loss. More info and tickets here.

 

Urgent Care: A Social Experience @ The Colored Girls Museum
The Colored Girls Museum

The Colored Girls Museum takes community matters into her own hands converting the three-story Victorian memoir museum into a Social Care Experience. Her new exhibits redefine the concept and practice of “urgent care” from triage to aftercare. Curators, artists, and ordinaries construct Colored Girlhood as an imaginative and powerful space. More info and tickets here.

 

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2017 Festival Spotlight: Created by People of Color, Pt. 1

Posted September 11th, 2017

Disrupting the pervasive whiteness of Fringe, these artists are breathing fresh air in to the new works scene in Philadelphia with these exciting Festival offerings!

 

To My Unborn Child: A Love Letter from Fred Hampton @ Iron Age Theater
Philadelphia Ethical Society

Murdered by Chicago Police at 21 as he lay by his pregnant lover, visionary Black Panther Fred Hampton preached a humane, compassionate revolution against racist brutality, child hunger, poverty, and capitalism. Fred cries, “Power to the People,” in Rich Bradford’s world premiere play reviving a critical voice for justice. More info and tickets here.

 

Mujeres @ CHI Movements Art Center
Gavino + Carbonell

Mujeres is a compilation of dance works by female choreographers, Gavino and Carbonell. Gavino’s HERstoryexplores pre-colonial matrilineal bloodlines from the perspective of an indigenous Filipina. Carbonell’s Milk delves into motherhood, investigating sustenance passed from mother to child. More info and tickets here.

 

Cotton & Gold @ Circle of Hope
AMH Productions

Writer/director Alyse Hogan explores history to tell this story of struggle, healing and resilience. Through Afrofuturism, the town of Tulsa is re-imagined from the forgotten history of Tulsa, Oklahoma’s Black Wall Street. Join Loron Sr. as he escapes to an economically advanced Tulsa, searching for answers to save his hometown of Rankin from the watchful eye of COINTELPRO. More info and tickets here.

 

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Making Art in 2017: Michael Kiley on Close Music for Bodies

Posted September 10th, 2017

Name: Michael Kiley

Show in 2017 Festival: Close Music for Bodies

Past Festival shows: Sound design and original music for Nichole Canuso Dance Company’s Wandering Alice (also performer, 2008), Takes (2010), and The Garden (2013), as well as Animina, A Race Street Pier Soundwalk (Digital Fringe, 2015)

Fun fact: My first job in Philadelphia was house managing Christ Church for the 1999 Fringe Festival.

FringeArtsTell us a bit about your show. 

Michael KileyClose Music for Bodies is an immersive voice work. It evolved from collaborations on several choreographic processes (with luciana achugar, Faye Driscoll, Chelsea and Magda), where I was invited to collaborate as a composer/designer, and brought my skills as a voice teacher into the fold. I began to get excited about how the moving body affects vocal production, and vice versa. This led to breakthroughs with my voice practice, moving it into a more fully embodied experience, which I now call Personal Resonance. The deep connections I’ve made with people through teaching Personal Resonance made me wonder if I could create that level of intimacy and community in a performance setting. Vocal education will be a facet of this performance.

It is a social and cultural norm to judge people by the sound of their voice. We do it without realizing it. This judgement is magnified when it comes to the sound of someone’s singing voice. As a result, the act of singing has become an elitist form. Early on in life, people are told that they can either sing or they can’t, in relation to their natural ability to duplicate pitches in a pleasing tone. But singing is one of the most mentally and physically beneficial acts possible in the human form. That benefit has absolutely nothing to do with how you sound, and everything to do with how it feels, physically in your body. I’m interested in discovering what happens when a community of voices is unbridled by the expectation of sounding perfect, and only seeks that which is physically pleasurable.

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A Guide to Megapolis Audio Festival, Pt. 2: Performing Sounds

Posted September 8th, 2017

From September 16-17 the fifth Megapolis Audio Festival will descend upon Philadelphia, drawing world class musicians, sound artists, radio producers, and all around audio adepts to join the artistic frenzy that is the Philadelphia Fringe Festival. Much like the 2017 Festival’s program, Megapolis’ schedule of events might appear a little daunting at first glance, so to help you navigate it we at the FringeArts Blog are going to break it all down for you into some easily digestible categories. Follow these links to Parts 1 (sound tours), 3 (workshops), and 4 (installations and digital works).

This time around we’re taking a look at a wide variety of performances happening all weekend. Though some of them have interactive elements, for the most part all they ask of you is that you soak in the sublime sonics.

 

Playing the Victim
Phoenix Lio(n)
Sept 16, 10:30am @ United by Blue, Old City
Sept 17, 3pm @ United by Blue, Old City
Two live demo performances of an installation available to the public all weekend, Playing the Victim centers on a mask that plays audio narratives about rape culture and queerness. Using augmented reality and physical computing, the mask can be used to trigger audio and visuals on various speakers and monitors. As a live demo performance, Phoenix invites audience to watch as they manipulate their memories themselves. By engaging their experiences and identity as tools for art they rework the heaviest, hardest parts of themself like pigments dragged across canvas.

 

Radio Atlas
Radio Atlas
Sept 16, 5pm @ WHYY
Radio Atlas is the English-language home for subtitled audio from around the world. For this event for Megapolis, the podcast presents a screening of some of the best foreign language radio works in the world. Among other sonic surprises, this event will premiere a Belgian radio story about a residential home for the senile where music is an important form of occupational therapy; patients who can’t remember their children can remember songs of their youth in perfect detail, a frivolous way of conjuring a merciless deterioration.
Tickets for this performance are sold separate from Megapolis weekend and day passes.

 

Blevin Blectum / Radio Wonderland
Blevin Blectum & Radio Wonderland
Sept 16, 8pm @ WHYY
An evening of performances from two esteemed artists with unparalleled creative visions.
Blevin Blectum is a Providence-based interdisciplinary artist who combines sound, imagery, and costume to create eccentric and mesmerizing performances that explore everything from science fiction to ornithology. She has been performing and touring extensively since 1998, and when she’s not working on her own music she’s creating sounds for Hasbro Toys.
Joshua Fried, aka Radio Wonderland, turns live radio into recombinant funk, with a boombox, Buick steering wheel and four old shoes. Robert Barry, a writer for the esteemed music publication The Wire, described his works as, “Rather like Negativland remixed for a house party…undeniably fun.”
Tickets for this performance are sold separate from Megapolis weekend and day passes.

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2017 Festival Spotlight: FringeArts ~After Dark~

Posted September 7th, 2017

This ain’t your grandma’s Fringe. Join us for some of the raunchiest, rowdiest, wildest shows at this year’s Fringe Festival. Hire a babysitter and leave your kids at home because these shows are decidedly NOT family friendly. Viewer discretion advised. 

Martha Graham Cracker Cabaret @ FringeArts
Martha Graham Cracker

The hairy-chested, fake eyelash-laden alter-ego of thespian Dito Van Reigersberg performs a balls-to-the-wall drag cabaret. Backed by her stellar band and with her killer voice, Martha Graham Cracker takes you on a raucous, joyous, uninhibited ride around her world.
“The Drag Queen King of Philadelphia.” The Philadelphia Inquirer
More info and tickets here.

 

 

Bye Bye Liver: The Philadelphia Drinking Play @ Evil Genius Beer Company
Happy Hour Live, LLC

Two parts sketch comedy, One part drinking games: Mixed and served! Come party with us for a night you might remember with interactive drinking games between comedic romps about the drinking experience. Ticket includes your first beer from Evil Genius! More info and tickets here.

 

The Groom’s a Fag; The Bride’s a Cunt; The Best Man’s a Whore; and the Maiden of Honor (Just) Hung Herself in the Closet @ The Beard Cave at St. Mary’s Church
On The Rocks

Daniel is pretty gay, but he’s marrying Nora. Nora is a virgin that wants her wedding night to be a sexual awakening. Shit gets fucked up. A song, a dance, an image, a poem all wrapped in a sloppy burrito of a play about glamping, hookers, the Easter Bunny, cocaine, Emma Stone, hauntings, and the horrors of commitment. More info and tickets here.

 

KINK HAÜS @ The Latvian Society
Gunnar Montana

Gunnar Montana transports us once again, this time to a brutal underground nightclub where no fucks are given, and fierceness is always welcome. Fantasy, fetish, and carnal desire are all in fashion so leave your inhibitions at home because inside KINK HAÜS, anything goes. That is, if you can get past the doorman. More info and tickets here.

 

 

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A Guide to Megapolis Audio Festival, Pt. 1: Great World of Sound

Posted September 6th, 2017

From September 16-17 the fifth Megapolis Audio Festival will descend upon Philadelphia, drawing world class musicians, sound artists, radio producers, and all around audio adepts to join the artistic frenzy that is the Philadelphia Fringe Festival. Much like the 2017 Festival’s program, Megapolis’ schedule of events might appear a little daunting at first glance, so to help you navigate it we at the FringeArts Blog are going to break it all down for you into some easily digestible categories. Follow these links to Parts 2 (performances), 3 (workshops), and 4 (installations and digital works).

First up we have a set of interactive and experiential pieces that take participants out of the studio and around the city. All of the events below are free with a Megapolis Festival pass and begin at PhillyCAM (699 Ranstead St) before spreading out from there.

 

An Urban Mushroom Forage
Katya Gorker & Elana Gordon
90 minutes / Sept 16, 10:30am
This sound walk presents a conceptual and sonic spin on a mushroom forage, integrating prompts and creative sound design to guide listeners through Philly’s urban forest. Gorker, a Moscow-born filmmaker based in Philadelphia who has spent years exploring the connection between mushroom foraging and identity and meaning among the Russian Diaspora, narrates the walk. She’ll introduce participants to fellow immigrants, foraging for mushrooms and their own sense of place in this new world. Participants will also here from John Cage and other cultural luminaries on the art, philosophy and science of foraging.

 

Stalking Wild Sounds
Lexie Stoia & Toby Kaufmann-Buhler
120 minutes / Sept 16, 12:00pm
90 minutes / Sept 17, 11:30am
Imagining a future where nature has reclaimed our environment, Columbus-based artists Lexie Stoia and Toby Kaufmann-Buhler send participants out into an entirely alien environ. Using a provided audio player and field guide, participants will start at PhillyCAM, travel through the formal landscaping of Washington Square Park, and make their way back to the station. A real-time science fiction journey with the sounds of “alien” flora and fauna, participants will find themselves immersed in this sound work that maps onto their surroundings.

 

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Ambivalent Cosmic Matter: An Interview with Bhob Rainey

Posted September 6th, 2017

Bhob Rainey is an artist that should need no introduction, and yet, here we are. Over the course of the last two decades he has tirelessly pushed against established musical idioms—with consistently revelatory, mind-melting results—like few contemporaries. In the process he has collaborated with some of the most innovative composers and musicians working today, and even helped define the lowercase movement in non-idiomatic music with Nmperign, his seminal duo with Greg Kelley.

Though he has sought interdisciplinary collaborations throughout his career, his commitment to such projects has deepened as of late, particularly in his ongoing partnership with New Paradise Laboratories. This week sees the world premiere of NPL’s latest show Hello Blackout! and—as he did with the show’s predecessor O MonstersRainey has been composing original music essential to the development and execution of the piece. However, unlike last time around when the sublimely unsettling score was prerecorded and blasted through the theater, Rainey has drafted an ensemble of distinguished and versatile musicians—as comfortable in the world of classical music as they are in the deepest ends of the avant-garde—to help shape and execute his idiosyncratic vision. “We had this idea that it’d be fun to find musicians who could stimulate Bhob to even greater heights of sonic experimentation, so he has assembled a unique ensemble, a quintet,” NPL artistic director Whit MacLaughlin recently told the FringeArts Blog. “They’re some of the finest instrumentalists of alternative timbres in the world. I’ve been to the sessions and am always having my mind blown as this music comes together.”

I spoke with Rainey last year ahead of the premiere of O Monsters, but seeing as his compositional approach has changed, I had to touch base to learn about the unprecedented sounds that engulf the Kissimmee family before, during, and after the Big Bang.


FringeArts: You crafted the music for O Monsters by harvesting data from various phenomena and translating those numbers into long, very compelling, very alien musical events. How has your compositional approach changed since then in order to fit the world of Hello Blackout?

Bhob Rainey: The data sonification from O Monsters was largely used to find “shapes” of events that, while they might have beneficial or catastrophic effects, exist in spite of us. A lot of that music was meant to be a confrontation with a world that is utterly ambivalent towards the people in it and that only happens to be hospitable by chance. Why not follow this thought a little further and say that this ambivalent cosmic matter is also us—our bodies, our consciousness? Part of the human experience, I think, is a struggle between what we strongly feel is our “self” and this ancestral, non-human dust that’s already operating by the time we get names and ideas and desires, etc.

The philosopher Emmanuel Levinas had a pretty succinct, everyday take on this nameless companion. Speaking of insomnia, he said, “I do not stay awake: It stays awake.” He’s not merely talking about “the unconscious.” He’s trying to capture an anonymous life that persists even in the basic matter that composes us. And while the “it” is not an ethical being, I think that any kind of large-scale, inter-being “goodness” involves an engagement with this non-personal part of our existence. The problem is, not only is it difficult to think clearly about what an engagement of this kind entails (without falling into some kind of dogmatism), it is also easy to get devastatingly lost in the process. So, if the music for O Monsters was largely oriented towards an ambivalent, sometimes sublime cosmos, my thoughts for Hello Blackout are directed towards how this cosmic matter plays out within us.

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Composing for the Future: Interview with Troy Herion

Posted September 5th, 2017

Troy Herion is a composer and filmmaker whose works unite contemporary music with visual arts through film, theater, dance, and concert music. His  compositions range from classical and avant-garde orchestral music to intricate and melodic electronic scores. He has teamed up with Dan Rothenberg (director) and Mimi Lien (design) for Pig Iron Theatre Company‘s A Period of Animate Existence, which has been dubbed “a work of symphonic theater” and premieres at the 2017 Fringe Festival. Period is structured as five moments and tackles questions about the future of life in such turbulent times. It also features more than 80 performers including  children and elders, as well as The Crossing, Contemporaneous, and members of the Philadelphia Boys Choir & Chorale and Philadelphia Girls Choir, and Philomusica. Troy shared some of his thoughts with us on the creation of A Period of Animate Existence earlier this year.

FringeArts: What does the title A Period of Animate Existence mean to you? And how did you first respond to it?

Troy Herion: When you look up the word “life” in the dictionary, one of the definitions you will find is: “a period of animate existence.” Our piece looks at the concept of life from a zoomed out perspective—one that tries to consider where life came from and where it is going. When I think of the dictionary definition of life—a “period” of animate existence—the word period implies something with a beginning and an end. The period of my own life is barely conceivable—to think I have a beginning and an end. But when I zoom out and think about the period of life on earth, or life in the universe, the origins and the future trajectory of this continuum of life are entirely beyond my imagination. When we consider the idea that life is a continuum, that all living things on Earth are part of an unbroken chain going back to the first emergence, and continuing into the future from generation to generation, then the period of animate existence is really on a timescale beyond comprehension.

FringeArts: How do you incorporate or consider the other artistic processes happening on this show when composing?

Troy Herion: I’m sort of obsessed with the ways music combines with things like images, environments, and story. I tend to work holistically by imagining music in some sort of context, which has led me to some more interdisciplinary projects like my visual music films. I’m interested in synesthesia, and I experience music as a very tactile thing. Sounds have color and weight, they can travel like objects in space with momentum and friction. So my music is definitely inspired by colors, textures, brightness, and movement. A Period of Animate Existence is a unique project in that we are writing (and revising) the music, story, choreography, and visual design simultaneously. I tend to be inspired by a concept or an image from Dan or Mimi, and then will write an unfinished demo of music. We then try to combine the music and design sketches, so that each can be influenced by the other.

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2017 Festival Spotlight: Apocalyptic Visions

Posted September 2nd, 2017

In these turbulent times, artists in the Fringe Festival are using their mediums to present worst case scenarios for our unpredictable future. Check out the horrifying projections of reality coming to our city at this year’s Fringe!

 

AMERICANA PSYCHOBABBLE @ Berks Warehouse
Alexandra Tatarsky

A delirious anti-narrative of American emptiness, violence, and nonsense—part exorcism and part enema! With styrofoam wings, Xmas lights, and ketchup. “Phyllis Diller meets Artaud!” “Like Kellyanne Conway woke up from a coma after overdosing on sleeping pills and reading too much Gertrude Stein.” AMERICANA PSYCHOBABBLE exists somewhere between irrational healing ceremony, sad clown song, dance in the abyss, and desperate diatribe to take back ecstatic nonsense as an act of resistance. More info and tickets here.

 

Every Day APOCALYPSE! @ The Collective
Lone Brick Theatre Company

The death rays and nukes of outrageous fortune are aimed squarely at a struggling theater group when an irate son of God condemns the company to face a new apocalyptic scenario every day, for eternity. Can they learn to get along in order to save the world, not to mention the world’s worst production of Hamlet? More info and tickets here.

 

GATZ @ Philadelphia Shakespeare Theatre
Harrison Stengle

Philadelphia, year 2025, the tempo of the city had changed sharply. The buildings were higher, the parties were bigger, the morals were looser and the kush was cheaper, the restlessness approached hysteria. From the makers of the off-off Broadway show Sword of the Unicorn comes GATZ a Great Gatsby modernist parody. More info and tickets here.

 

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Music Engenders a Feeling: the Musical Inspirations of Ghost Rings

Posted September 1st, 2017

Next week theater maker Tina Satter and her New York-based ensemble Half Straddle will return to Philadelphia with Ghost Rings, part of the 2017 Fringe Festival. The show explores exceptionally close friendship, non-heteronormative romance, female families, and so much more. Oh yeah, and it’s a pop concert.

Half Straddle are no strangers to integrating original music into their shows, but with Ghost Rings, they decided to up the ante. “[Half Straddle composer] Chris Giarmo, and I had been discussing doing a project that really focused on singing,” Satter recently told the FringeArts Blog. “Chris had expressed that he wanted to experiment with making music out of our collaboration that was more challenging and really required very, very good singers to do it and I loved that challenge.” To help realize this goal, Satter looked to a variety of musical sources for inspiration. Whenever it struck, she’d pass the song to Giarmo, explaining what it was about the particular track that caught her attention, and he’d take that influence into consideration as he composed.

Satter was gracious enough to provide us with this short playlist with some of those inspirations. Though the sounds on the list may be varied, they are all bold in their vision, defiant in their aesthetic, and unapologetically female. The music of the show reflects the sonic diversity to some degree, and yet it’s all remarkably cohesive, unified by its absurdly talented band/performers—featuring Satter and Giarmo, and fronted by Erin Markey and, for this iteration, Amber Gray—and the hilarious and heart-wrenching narrative at its core, one that could only have been conveyed through such a theatrical song cycle. As Satter put it in an earlier interview, “Music engenders a feeling you can’t even name in your body, heart, and brain. Watching these people onstage not just creating narratives and drama but all this live melody really paired with the content of the show and our holistic approach to it from the earliest stages.”


“The Weakness in Me” by Joan Armatrading

She is the best. Hands down. The storytelling and direct shot of recognizable emotion in this song in particular is very inspiring always. Her music is a constant overarching thing to look to in making music, work, and life in general—so even if not direct at all in a given project we make—looking for our version of the emotional unlocking, storytelling, and melody for a given piece always starts with looking to Joan.

 

“The Eye” by Brandi Carlile

Cannot remember how I first came to this music. But I heard a song somewhere in the summer of 2015 and then looked up the singer. I had never heard of Brandi Carlile. But I started to get so into some of her songs, and was sending them compulsively to Chris saying there was something about this sound that felt like it could work in parts in our approach to Ghost Rings. Then I learned she was this out lesbian in country music and married to a woman and had kids with her, and it felt even more right that she was embedded in some way in this piece we were making in part about queer family-making.  “The Eye” in particular did influence our final song “Not Here”—both in the lyrics I wrote and Chris’s music approach to it. I think Chris’s incredible drag alter-ego, Kimberly Clark, now also covers some Brandi Carlile when she performs.

 

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Making Art in 2017: Tina Satter on Ghost Rings

Posted August 29th, 2017

Name: Tina Satter

Company: Half Straddle

Show in 2017 Festival: Ghost Rings

Past Festival shows: In the Pony Palace/FOOTBALL

FringeArtsTell us about your show. 

Tina Satter: When I started Ghost Rings I had this very early writing of two girls discussing banal and existential questions. In this very early draft they each had an animal that operated as their “Private Inner Being”—one girl had a deer and the other had a seal—but I wanted to play with the idea that these weren’t actually cute, cuddly animals. They were kind of crass, and direct, and not necessarily mean, but didn’t always offer great advice. They sort of actually operated like “mean girls.” The deer in particular even wanted to talk about sex and stuff.

At the same time Half Straddle composer, Chris Giarmo, and I had been discussing doing a project that really focused on singing. We always have original music, scores, and often songs in our shows, and usually these are performed by a mix of untrained and trained singers. Chris had recently expressed that he wanted to experiment with making music out of our collaboration that was more challenging and really required very, very good singers to do it and I loved that challenge and idea. From the beginning, we were like, “Maybe it’s a fully sung-through piece?” but didn’t have any idea what that would mean for us. We also knew from the beginning we wanted to work on it with Erin Markey who has an incredible voice and stage presence, and we’d been collaborating with her for a while at that point. At the time I knew of the actor Kristen Sieh, who’s outstanding, but I didn’t know she was a singer. Then sometime in 2012 I saw her in a show where she sang and she suddenly seemed like the perfect person to play opposite Erin.

Meanwhile, I was honing and refining the writing between these two characters, then called Samantha and Kristen, and their Private Inner Beings (Seal-y and Deer). In the writing they had become these best friends who also have a deep romantic connection. As they grow one truly wants to have a baby with the other so she sets this intention that she is pregnant and it comes true. At the same I was going through all this stuff with my actual sister who I’d always been super close to, but there were pretty intense things she was going through and we were estranged. I couldn’t help putting really direct and personal writing about my sister in the show. It made sense in a way since I would be onstage drumming anyway.

So, I was working on how to make those two distinct aspects of text work together—and then I remembered that when we were really little my sister and I had a “band” with a friend—a fake band obviously, but for a moment in time we took it really seriously. That became this really perfect through-line for Ghost Rings—to re-create a band now as an adult and artist to frame these memories and new stories.

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2017 Festival Spotlight: Family Friendly Fare, Part 2

Posted August 27th, 2017

Just because it’s at the Fringe doesn’t mean you have to leave the kids at home. Check out some of the Festival’s productions appropriate for all ages. Bring the whole family! Check out Part 1 here.

 

A Period of Animate Existence @ Annenberg Center for the Performing Arts 
Pig Iron Theatre Company

Children, elders, and machines contemplate the future in a time of dire predictions and rapid technological change in this work of symphonic theater. How do we contemplate the future in such a perilous time, an era called the “Sixth Extinction,” when up to 50 percent of all living species might die off? An inspired, large-scale melding of music, design, and theater, A Period of Animate Existence investigates the intense, unnamable emotions that arise in a time of extinction. More info and tickets here.

 

Photo by Michael Bach.

Lost in the Woods @ German Society of Pennsylvania
A Moment for Music

Lost in the Woods is the journey of two starving children who must find their way in a world that threatens to both empower and devour them. This family-friendly romp through Hansel and Gretel’s forest is a multimedia adventure featuring classical, jazz, and pop singing, lip-sync, and dance. More tickets and info here.

 

Photo by Michael Ermilio.

 

Life Lines @ Christ Church Neighborhood House 
Tangle Movement Arts

Seven women collide and are changed forever. In this dynamic circus-theater show, strangers meet their match, empty rooms listen in, and women find their power in flight. Tangle’s acrobats climb trapezes and aerial silks as they face sudden changes, spark chain reactions, and test the hidden threads that bind us.

 

Worktable @ BOK
Kate McIntosh

We provide the hammer, you do the rest. Worktable is a live installation that takes place in a series of rooms, which visitors engage with one at a time. Having signed up beforehand for a specific time slot, you enter and can stay as long as you like. Once inside there are instructions, equipment, and safety goggles so you can get to work—it’s up to you to decide how things come apart, and how they fall back together. More info and tickets here.

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