Category Archives: Art

The Inkwell Theater presents the World Premiere of Luigi

Reviewed by Tracey Paleo, Gia On The Move

CastLUIGI

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I winced as they slightly butchered the language and just a little bit of the culture of my great grandfather throughout each mild cliché and lagging scene…and yet somehow, something about it still felt familiar.  Maybe it was the slow pace after all or how the family embraced each other in the laughing, the teasing, even in the arguing.  I understood it completely.  It felt like home.  But then I thought, these are not Sicilians.  They are not actually my people.  And in any case, everyone else just thinks that we’re all boiled into one melting pot of spaghetti eating, loud mouthed, over-the-top, nonsensicals, easily dismissed, and made sport of, but for mafioso films, Michelangelo and ancient Roman history.  So it doesn’t really matter.  Of course it does! …what was I thinking.

One bona fide Italian in a production pulling along a host of actors playing Italian does not necessarily, even with the best of intentions and rehearsals make a real life … non è così.

In, “Luigi”, when the patriarch of an Italian family is in his last days, relatives gather in Tuscany for a reunion to celebrate life, love and to rediscover the bonds that hold them together.

It began promising, but the bloom quickly faded with each passing scene in a menage of unending moments that arrived at a precipice of truth, but never quite gave way to the essentiality of the story.  In and of itself it is a gentle tale, beautiful, sweet and heart-warming.  A tale so full of life attached to the inevitability of death where writer Louise Munson attempts to gather the fragrant and fully blossomed moments inside vivid, spontaneous recollections that we actually remember as opposed to what is left, the decomposition of memory and of factual and emotional history.  With and without us, life goes on.  What we pass to the next person, the next generation however, is often precious in ways we may never know.  How we remember for ourselves and for each other is what creates life in the present and hope for the future.

The trouble with this comedy/drama is that there are so many moments to distill; too many.  And so the story creates an endless Summer that feels like a heatwave we want to end, instead of the sweet kiss of a deliciously warm breeze that unbearably rolls over the skin, making us long for the touch of it over and over.

The actors, some of whom are seasoned Broadway and television veterans, are uneven in delivery, dialog, cultural backgrounds that don’t quite stitch together and projection. But they do put in their best performances to be sure. Ultimately, though, the cast as a whole does not truly capture the “Italian.” The stage direction and pacing, unassisted by the small space, corrupted the fleeting intimacies and what should have been a more crisp evolution of time.  Scene changes were awkward. There were just too many.  And the story itself could be cut down and strung together more cohesively to evince the most special and evocative aspects. Unfortunately, what we crave to grasp here is exactly what we don’t get to hold onto — the sincere kinships and the deep, deep love between all the family members, especially between Luigi and his young American niece, Anna, who finds in her uncle, a relationship she has always longed to have.

An “assemblage” needs to happen with this production. It has a world of potential but has quite a way to go to fully reach it.  During the run, it will hopefully pick up speed and emerge as a home-grown yet more universal drama.

LuigiNoText_zpsc6d060e7LUIGI

NOW PLAYING
until August 18, 20141
Thursdays-Saturdays at 8pm, and Sundays at 2pmTickets:
Pricing: $10-$20
Box Office reservations: http://www.inkwelltheater.com/
Theatre Information:
VS Theatre (a guest production)
5453 W. Pico Blvd. in Los Angeles, 90010

Appropriate for all ages 

Cast: Nicola Bertram, Helen Duffy, Ryan Plourde, Erin McIntosh, Stephanie Sanchez, Gian Franco Tordi, Ray Xifo

Directed by Annie McVey
Produced by Daniel Shoenman and Bonnie Hallman
Written by Louise Munson

David Mauer (Set Design), Derrick McDaniel (Lighting Design), Daniel Shoenman (Sound Design), Stephen Rowan (Costume & Prop Design), Lisa Pantone (Casting Director), and Josephine Austin (Production Stage Manager)

Tickets: http://www.ruskingrouptheatre.com

Ice Cream Graffiti: The Final Frontier for National Ice Cream Month

The last of the favorites found online celebrating this year’s National Ice Cream Month here in the USA.  If you’ve missed the previous posts, revisit them now and have fun sharing.  These artists are amazing!

Ice Cream Graffiti 

More Ice Cream Graffiti

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How to Buy and Collect Photographs at The Duncan Miller Gallery Tomorrow

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Presents

Duncan Miller Gallery

How to Buy and Collect Photographs – And Other Artworks – Online

Duncan Miller Gallery’s Daniel Miller Leads A
Special Seminar In Bergamot Station

Wednesday, July 23 | 7 – 9pm

DUNCANMILLERGALLERY
2525 Michigan Ave, Unit A7
Santa Monica, CA 90404

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Click HERE To Purchase Tickets
Or See The Event On Facebook

Like just about everything else in life, the Internet has changed how people encounter, appreciate, promote — and most especially, collect — works of art.  Although photography is very much a part of the main conversation on 21st Century fine art systems, and far from a monolithic genre, fine art photography presents its own unique set of freedoms and challenges for artists, dealers, and particularly for collectors. Whether avid or novice, How to Buy and Collect Photographs Online offers a rare opportunity to get up to speed on the state of the arts.

Led by Duncan Miller Gallery’s owner and director Daniel Miller, who is also the founder of the email-based collectors service YourDailyPhotograph.com, this 2-hour seminar will teach you how to ask the right questions to make informed, confident choices when it comes to purchasing fine art photography through online resources. The Internet has increased the scope and accessibility of the arts, but navigating the maze of sites and sellers can be daunting and fraught with peril at the hands of unscrupulous or amateurish sellers. Pitfalls like unauthorized reproductions, high-quality outright fakes, unsigned works, and uncertain provenance abound; and there are even ordinary posters being offered as valuable photographs — that’s a true story, and you’ll never believe who the criminal is!

Collectors need tools and guidance to have a successful, pleasant, legitimate online experience. To that end, while general information on dealing with eBay, auction sites, and so on will be provided, much of the seminar is based on Miller’s experiences in developing “the Daily” as a means to get exceptional value on collectible photographs. It is his belief that while the future of art collecting must inevitably include the Internet, the traditional role of the gallery in providing not only curatorial vision and trusted advice, but also acting as a gatekeeper protecting both the artist and the collector from missteps, is more necessary than ever. As Miller says, “In the end, people want someone they can know and trust — and get on the phone with!”

Miller starts with a brief history of photography’s 175 year history; covers the terms and technical specs on the many kinds of prints, papers, inks, processes, and archival materials that are out there; explains how pricing works, particularly when it comes to how editions work; breaks down the vintage/contemporary divide; offers strategies for building a collection and creating its focus; provides resources for staying educated and involved in the critical dialog; and includes details of Miller’s soon-to-be-gospel basics: “Daniel’s Seven Rules of Diligence.” Which are — 1) Exactly who are you buying from? — 2) What do you know about the artist? 
 — 3) Who made the print?
 — 4) What kind of print is it?
 — 5) Is the work signed? — 
6) What is the price? — 
7) What are your return options?.

ABOUT DANIEL MILLER: Owner and director of Duncan Miller Gallery and founder of YourDailyPhotograph.com, Miller created the wildly popular exhibition series “Collector’s Favorites” for the Photographic Arts Council at the Los Angeles County Museum of Art (LACMA), currently in its fifth smash year. He received an official proclamation from the City of Los Angeles for developing The Los Angeles Collection photography exhibition that was shown in LA and Seoul. He developed the “American Icons” exhibition concept, bringing art to unlikely venues in search of exciting new audiences, which with 40,000 visitors in just three days, was the city’s most attended photography show in history. Duncan Miller Gallery’s substantial inventory includes rare blue-chip classics and a variety of contemporary photographers working in all aspects of the medium.

 

Analog Displays at The Photo Gallery Los Angeles This Saturday

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5625 N Figueroa St., Los Angeles, CA 90042
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Artists:
Jacqueline Elaine Gomez
Raymond Del Pilar Potes
Jason Roberts Dobrin
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July 25 – August 2, 2014
Opening Party: Friday, July 25, 6-10pm
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Once a processing and printing shop, The Photo Gallery in Highland Park has long since been out of business thanks to the rise of digital photography. But from July 25-August 2, the original space is revived as a transient gallery that pays tribute to black-and-white analog photography. This exhibition showcases works by three practicing artists whose photos document hidden, neglected landscapes in unexpected ways, signifying the original artistic merit and technical savvy inherent in pre-digital photography.
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Jacqueline Elaine Gomez is a Cuban-American photographer. Raised in Caracas, Venezuela, she currently lives and works in Los Angeles, CA.

Jason Roberts Dobrin makes work that dissects the American narrative, creating tension by shedding light on the invisible aspects of self-referential American culture.

Jason Roberts Dobrin makes work that dissects the American narrative, creating tension by shedding light on the invisible aspects of self-referential American culture.

Raymond Del Pilar Potes has been making pictures for the past 20 years.  At age 14, he created his first zine and has been doing the same ever since. Today he edits and publishes Hamburger and Eyes Photo Magazine, dedicated to revitalizing the sensation of photography as a craft as well as a tool to record and document.

Raymond Del Pilar Potes has been making pictures for the past 20 years. At age 14, he created his first zine and has been doing the same ever since. Today he edits and publishes Hamburger and Eyes Photo Magazine, dedicated to revitalizing the sensation of photography as a craft as well as a tool to record and document.

FIND HAMBURGER EYES ON THEIR SOCIAL NETWORKS

YOUTUBE: http://www.youtube.com/ZETARZZ
TUMBLR: http://hamburgereyes.tumblr.com
TWITTER: https://twitter.com/HAMBURGER_EYES
INSTAGRAM: http://instagram.com/hamburger_eyes
FACEBOOK: https://www.facebook.com/pages/HAMBURGER-EYES/46350521130

 

All’s Well That Ends Well

by Tracey Paleo, Gia On The Move

All's-Well_1

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“All’s well that ends well”… and that’s a good thing for one of Shakespeare’s more notoriously problematic and confus-ed plays currently in production at Will Geer’s Theatricum Botanicum, as part of its celebration of the Bard’s 450th birthday and an All-Shakespeare Repertory Season.

If Love is a battlefield then this one is filled with mines for handsome, naïve, Bertram who just can’t figure out enough ways to avoid marriage and commitment.  He is convinced, like any young man, (and not just by his own mind) that life as a soldier in the King’s army is the adventure he craves.

Helena on the other hand is determined to have what she wants and gets it by all means, whether the object of her amore is willing or not, justified by the unadulterated fact that, “she loves.”

Ah me!

Though originally classified as one of Shakespeare’s comedies, All’s Well That Ends Well is considered by most critics difficult to be categorized as either a tragedy or comedy.  The title taken from the old proverb, which means that problems do not matter as long as the outcome is good, leaves one slightly aghast in this mire of manipulative mayhem.

All’s Well That Ends Well is a bittersweet story about class differences.  Theatricum’s production attempts to bring it into the 21st Century showcasing Helena as a great female role model who crosses class lines to follow her heart.

It’s a hard line to cross, though.

Low born Helena is merely the daughter of a renowned physician taken into Bertram’s house after the death of her father.  Living in the same household she falls in an awkward love with Bertram, who is a Count and well above her station. Despite all of her qualities, her beauty, her eligibility in every other way, including the blessing of Bertram’s mother, (the Countess of Rousillon), he leaves for court to make a brilliant life and an understandable “future” marriage to someone more befitting his rank and wealth.

In the most egregious of ploys, Helena travels to Paris and heals the King of France from an incurable illness with the help of one of her father’s remedies.  She is then given the right to marry any man she loves. Bertram however bitterly rejects Helena, and but only for the command of the King, forced to go through with the ceremony, subsequently leaves Helena un-bedded, alone and sent back to a home to which he will never return.  From here she must use her wits, her wiles and whatever friends she can muster in order to eventually seduce her own husband into impregnating her – the only way he says he will ever truly be her husband.

Helena although struggling from an honest place, in an honest course, still defies modernity in execution.  Embodied by the lovely and talented Willow Geer as a softer, outplayed-at-almost-every-turn, yet determined woman in love, Helena is compelled by the fact that she is a female living by the rules of a socially strict culture, to shape her fortune in what can easily come across as deceit.  And frankly, what she does is deceitful. But there are no other means.

The biggest complication with trying to make the story modern is that, were it not for a King’s ultimatum, Helena would most likely never have won an opportunity at Bertram’s heart apart from sisterly love, and most definitely would not have been made his wife.  It’s still and old-fashioned trap portraying Helena more as a go-to girl rather than the heroine that girls today are looking to for answers about love.

That all being said, the production itself is quite marvelous.  Earnestine Phillips (Countess of Rousillon), Mark Lewis (Parolles) and Wayne Stribling Jr. (King of France),  assemble, sort out and pull along a partly green but jocular cast in a thoroughly enjoyable, well-executed romp under a moonlit, outdoor, Summer theatre sky.

Leading lady Willow Greer (Helena) is a well-honed, driving instrument; perceptive and intuitive in her delivery.

All’s Well That Ends Well, is by all means, a show worth seeing and a concept curious enough worth visiting.  No matter the complications or structure of the Bard’s script or the shortcomings of a the attempted reboot, there is hardly a disappointment to be found from first to last line, made more special by the gorgeous environment of the outdoor stage itself. All in all — a treat.

All's Well1-Art-sm 

WHO:

  • Written by William Shakespeare
  • Starring Alan Blumenfeld, Willow Geer, Chelsea Fryer, William Dennis Hunt, Max Lawrence, Mark Lewis, Earnestine Phillips, Wayne Stribling, Jr., Debi Tinsley
  • Directed by Ellen Geer and Christopher W. Jones
WHEN:
Performances through Sept. 27:
  • Sunday, July 20 at 3:30 pm
  • Saturday, July 26 at 4 pm
  • Sunday, July 27 at 7:30 pm
  • Friday, Aug. 1 at 8 pm**
  • Sunday, Aug. 3 at 7:30 pm
  • Friday, Aug. 8 at 8 pm
  • Sunday, Aug. 10 at 3:30 pm
  • Sunday, Aug. 17 at 3:30 pm
  • Sunday, Aug. 24 at 3:30 pm
  • Saturday, Aug. 30 at 4 pm
  • Sunday, Sept. 7 at 7:30 pm
  • Saturday, Sept. 13 at 4 pm
  • Saturday, Sept. 20 at 8 pm
  • Saturday, Sept. 27 at 4 pm
**Pre-performance “British Pub Grub” dinner at 6:30 pm on Friday, Aug. 1 and Friday, Aug. 8 (separate admission, or combination packages available)WHERE:
Will Geer’s Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA  90290
(midway between Pacific Coast Highway and the Ventura Freeway)HOW:
TICKETS:
  • Adults: $37 (lower tier); $25 (upper tier)
  • Seniors (60+), Students, Military Veterans, AEA Members: $25/$15
  • Children (7-12): $10
  • Children 6 and under: free
  • “British Pub Grub” dinner/play combos: call theater for pricing, advance reservations required
OTHER:
The outdoor amphitheater at Will Geer’s Theatricum Botanicum is terraced into the hillside of the rustic canyon. Audience members are advised to dress casually (warmly for evenings) and bring cushions for bench seating. Snacks are available at the Hamlet Hut, and picnickers are welcome before and after the performance.
 

Truth or Groundlings!

Feeling adventurous and frisky?

Truth or Groundlings

Come play a revealing and (at moments) uncomfortable game of Truth or Groundlings with the main stage cast at The Groundlings Theatre. Opening night is Friday, July 25 with performances through September 27. A game of Truth or Groundlings with this legendary troupe will reveal more about yourself than you ever thought you would.

Truth or Groundlings is an evening of sketches and improvisation, always original and always hilarious. Director Michael Naughton will spin the bottle with cast members Tony Cavalero, Matt CookH Michael Croner, Mikey DayAllison DunbarDavid Hoffman, Lisa Schurga, and Annie Sertich.

Truth of Groundlings opens on Friday, July 25 through September 27 
Fridays at 8:00 p.m.
Saturdays at 8:00 p.m. and 10:00 p.m.  

Tickets are $20.00 and available at the box office; via phone at (323) 934-4747 or  visit www.groundlings.com.

On Friday, July 25th only, opening night tickets are $50.00 and include cocktails from Tito’s Vodka and hors d’oeuvres from new local favorite Smoke Oil Salt.

The Groundlings Theatre is located at 7307 Melrose Avenue in West Hollywood.

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The Groundlings Theatre is an improvisation and sketch comedy theatre that has been entertaining LA audiences for 40 years.  They are a non-profit organization founded by Gary Austin in 1974.  A “Groundling” is one of the 30 company members who write and perform in the theatre’s shows and teach classes at the Groundling’s School. The school has been the foremost comedy training ground in Hollywood and the springboard for countless careers including comic geniuses from film and television such as Jennifer Coolidge, Will Ferrell, Ana Gasteyer, Kathy Griffin, Cheryl Hines, Chris Kattan, Lisa Kudrow, Jon Lovitz, Michael McDonald, Paul Reubens, Maya Rudolph, Mindy Sterling and Kristen Wiig, among others.  You can see these Groundlings alumni in the recent film Bridesmaids as well as television shows such as “Mike and Molly,” “Community,” and “Workaholics.” In addition to being comedy performers, Groundlings members and alumni hold writing positions on many of Hollywood’s top television and film projects.

 

CASS Calls for Pop Graffiti Art Submissions

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Graffiti in Los Angeles, CA in 2006

CASS (Contemporary Art Space & Studio) is currently looking for pop graffiti artists nationally and internationally.

CASS accepts images in jpg format on CDs, digital portfolios or color prints. Along with images, submissions should include a resume, exhibition history and an artist statement.

Submit materials by August 8, 2014 to http://bit.ly/1mIF5it or

2722 South MacDill Avenue, Tampa, Fla. 33629.

CASS

 

Do not send originals, as submissions will not be returned. Please visit casscontemporary.com for more information on artist submission.

CASS  focuses on modern, collectible works of art in various mediums from local, regional, national and international artists.

Follow them on Twitter: @CASStampa

Artful graffiti of a Maracatu performer in Olinda, Brazil

Artful graffiti of a Maracatu performer in Olinda, Brazil

The Curse of Oedipus at the Antaeus Theatre NOHO

by Tracey Paleo, Gia On The Move

Oedipus_Thebes_1.

It started off promising but somehow didn’t quite make it all the way.

The world premiere of, “The Curse of Oedipus” written by Kenneth Cavandar, directed by Casey Stangl and developed by the Antaeus Company was more like a “little bit of everything soup” than muscular tragedy.

But let’s start with the best of this production, for which there is a more meaningful reason to experience it.  “The Curse of Oedipus” is a newly translated rendition stringing together the various versions of this legend for what the company calls a “distilled” evening of (a massive) drama: a retold mythology of people caught in a web of pride and self destruction.

Oedipus_Thebes_9There were thoroughly meaty performances delivered poetically intact by Ramon de Ocampo (Oedipus), Josh Clark (Creon, brother to Queen Jocasta), Fran Bennet (Tieresias the blind seer) and Joanna Strapp (Antigone). Each of these actors brought an uncanny believability, evil and righteousness to the characters and moved the chugging storyline along at a thankfully measurable pace.  Without the stronger leads the show could have easily stood still.  The story however, is clear and understandable.

So what was off…

Mr. de Ocampo dove deep for the epic, sweeping tragedy  and physicality of Oedipus himself.  But curiously he remained unsupported by a large ensemble cast that although was vocally vibrant, didn’t register intensity that matched him.  The sound effects dispatched by a talented Adam Meyer on drums, were powerful but overall felt more laid-up-against the material rather than intrinsically aligning the movements, emotions, or lyric line.  It never really immersed the audience into the reality. And the opening child sacrifice would have benefitted by a little bit more compelling severity rather than what came off as screaming silliness.

They went for the laughs – sort of.  Playing in the middle somewhere between comedy and drama hurt this production.  At times the characters went for dramatic breath then suddenly dropped into something reminiscent of slapstick.  It’s not to say that it couldn’t work.  But it didn’t. They didn’t “take it all the way” and it made the piece confusing.  The exception was the fun performances of the two brothers, the gods, Apollo (Mark Bramhall) and Dyonysus (John Apicella). Mr. Bramhall and Mr. Apicella’s appearances were like mini mis-en-scenes in themselves; a tete a tete of underplayed neurotic, bitchiness, humor and reason.  Mr. Apicella as Dyonysus especially drove the important ideas of mortality and power home with well–delivered wisdom and a final speech that utterly hit the mark, adding much needed cohesion.

Style is everything. The costumes were decent. There were no fails there. But there was no real excitement or creativity either in their contemporary form. On the other hand, what truly elucidates every moment in this production are the lighting/scenic changes and transitions, beautifully designed by Francois-Pierre Couture.

It’s a long, long way… If it weren’t for the fact that it’s mostly understood that a Greek tragedy is going to take a few hours, the length of this show would have tested the patience of the gods themselves and nothing, not even brilliance should take an eternity.  Even if you are a dedicated classical theatre devotee, plan on making a serious time commitment.

OedipusNOW PLAYING AT

Antaeus Theater
5112 Lankershim Blvd.
North Hollywood CA 91601
(1/12 blocks south of Magnolia)
 
Until August 10th, 2014
Thursday, Friday and Saturday @8pm
Saturday & Sunday @2pm
Tickets: Thursday & Friday $30 / Saturday & Sunday $34
 
Visit www.antaeus.org for tickets and information or call: (818) 506-1983
Follow them on Twitter: @AntaeusTheater

Super Serious Los Angeles DIY Comedy

superserious“”We started the show out of a DIY spirit, and we’’ve managed to keep that energy throughout the past four years.”

Join the live comedy show hailed as the “Best Off-the-Beaten-Path Stand-Up Comedy Party”  by LA Weekly, for their four year anniversary.

The Super Serious Show features the best sketch, stand-up, music and videos on the third Wednesday of every month at The Virgil.

On July 16th, creators Mandee Johnson and Joel Mandelkorn are thrilled to celebrate the four-year anniversary of The Super Serious Show with a killer lineup, including Jen Kirkman, Jimmy Pardo, Garfunkel & Oates and the Sklar Brothers.

Each night of comedy is like a work of art in itself. 

Unlike many comedy clubs, The Super Serious Show is an affordable night of great comedy, complete with a food truck, sweets, drink specials, a DJ and a built-in happy hour.

Follow them on Twitter for updates: @seriousshow

The Virgil is located at:
4519 Santa Monica Blvd
Los Angeles, CA, 90029

Lineup and ticket information for the 4-year anniversary show are available here: Tickets

The super serious show

 

More Ice Cream Graffiti

Last week to commemorate National Ice Cream Month Gia On The Move scoured the internet for our favorite street art murals that represented what we love most about the holiday and the art form.   Banksy’s Girl Holding an Ice Cream Bomb of course is one of the more well known  renditions by now, but some of the graffiti we found world wide, from Portugal to Germany, Korea to Croatia, kind of surprised us.  I guess we all do, “scream for ice cream!”  lol

banksy_andipa_ice_cream_girl_pallet@CreativeZIN@jacquestorres@Streetart_pics@toneytigerlarbi -proxy70d405f98ac2aef44c5bfef52e02f1448807_353094641486961_1059030535_n6574400225_fe442045ce_z12140322896_37de1159f7_zargentina-stenciland_icecream-2011-11-10artist-irony-eating-ice-cream

Ice Cream Graffiti

ice cream graffiti

In honor of National Ice Cream Month, Gia On The Move spent a short time culling the internet, mostly Twitter and Instagram, to see if dairy delights were “on the street”.  Found, were some super fun photo captures.

Got any great Street Art/Graffiti Ice Cream discoveries of your own?  We’d love it if you sent them over so that Gia On The Move can share them all month long.  You can email us at: gia@giamedia3.com.  Be sure to give us your name (unless you really don’t want to) and where you took the photo!  We’ll even share your Twitter handle or Instagram account and ask our friends to follow you.

ice cream graffiti Bq6Ktd2CIAEqOoe g3 BN8-0BlCYAAm-OT Bq_TXVtIMAEaydDg2

Fringe Up: Riot Grrl Saves The World

p_1724_i_5965239by Tracey Paleo, Gia On The Move

Capturing the zeitgeist of today’s girl empowerment movement, Riot Grrrl Saves The World, is as exuberant as it is insightful.

“It’s the end of the world as they know it…”

A world premiere play by award winning playwright Louisa Hill Riot Grrrl Saves The World explores the deep issues that girls more than ever have been questioning and rebelling over with fervor.

You’re a girl.  It’s your job or maybe even your forever fate to conform.  You can’t really do anything you want.  You’re not human.  You’re a girl.  Because you know, at the core of your body is fear.

…or you could explode!

And that is exactly what they do.  Forming a nucleus of team members who create handmade magazines publishing their thoughts of the month and attempting to “change the world” these teens are no less than 100% committed to the the Riot Grrrl Revolution.  But when a Jehovah’s Witness stumbles into a Riot Grrrl meeting, dynamics change along with goals, loves and loyalties.

Riot Grrrl Saves The World truly exposes the hearts and minds of teen beliefs, prejudices, frustrations and the best part of what they are willing to be — a force for change from the heart.

Idealism, however, comes with a heavy price especially if you are a high school aged kid without a lot of control, money or power over your own destiny, the decisions of your future lurking in the background, your zine getting hijacked, your community threatening to shun you and worse, the mainstream media wanting to invade your special rebel space to take it down, tempting your compatriots with fame — its most infectious brand of mediocrity.  As we discover, the revolution is not about altruism it’s about survival.

There are incredibly potent elements, ideas and stories that come up in this play, revealed through movement, spoken word, music and “the best band ever” created by the girls as a way to gain followers and money for the publishing efforts.

The grand scale change they hope for doesn’t really come to pass.  But oddly enough, what they leave behind, sparks a new age of revolution.  Riot Grrrl Saves The World is a winner as is each of these girls.

There are no performances left for the Hollywood Fringe.  But you can learn more about the movement by visiting: http://willplayforfoodtg.wordpress.com/