Seated at a small club table in the dark, inserted me right back into my early New York City gritty, speakeasy days, where live, storytelling was outlandish, the sky being the limit to an open imagination.
This time around was no different, except that The Lord’s Loverwas in the room. Filling the space with its soulful sound, erotic, David Lynch like noir, blinking art and raw, beautiful burlesque, the Mad Hatter gathered all his wisdom and biting truth together to tell an awful satire about love and God, inspired by ancient myth.
The Lord’s Lover expressed the purely evocative through a gamut of lust, fantasy, shame, sourness, stasis and sarcasm. The devices of parody were curious and often had a carnival-like effect. But above all, this one performance, unlike any other, as I have not seen another of its kind in recent days, offered a wise fool’s impact.
A convoluted rondeau that involved text, poetry, live musical interludes and multi-media appealed purely to the senses. But then, they weren’t aiming to tell a linear tale; a benefit to the cast and a satisfying release for an audience who needed more than just theatre. This was theme driven high drama!
Juliet Annerino in The Lord’s Lover – Live
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I honestly thought I was in for a “friendly, dirty comedy.” I was if fact astounded to be “falling down the rabbit hole” of often peak, perceptive wit, engulfed in a sort of theatre in the round, which used the entire second floor of Los Globos to engage its audiences.
There were a few dry spots in the purely spoken dialog. But this experience was well worth the ride and the ticket, I might add. The Lord’s Lover is written and directed as well as all music and lyrics written by Juliet Annerino goddess supreme of the Torch Ensemble and strongly supported by a troupe of unique players: Jim Bolt, Tori Amoscato, Ruben Maldonado, Rebecca Diamond, James Maverick, Stream Gardner, Skip Pipo, Ruman Kazi, Andrey Priadkin, Robert Walters and Morgan Schutte.
The musicians of the performance were a knock out!: Juliet Annerino, Vox; Jimmy Williams, guitar; Reggie Carson, bass; Tori Amoscato, vox harmony; Clinton Cameron, drums; Blaine McGurty, keyboards.
And kudos to special effects, video, make up sound, lighting, costumes, etc. for an effective blending of artistries that created all of the special for this event.
Whether it comes and goes, stays or makes a comeback, The Lords Lover leaves an indelible mark in the mind, body and soul. Who knows what will surface next.
“The truth? The truth has set them free. I let them go! Their on their own now. Cruel. Cruel! ” ~God
Playing every Wednesday until April 24th. Don’t miss the last performances. You will regret it!
Artfully, sexy, colorfully bizarre and just a little wicked!
I know a poet. A very young man looking at the world with a completely different perspective than my own. Through his words I see what I don’t normally look for. I am hearing the Gen Y voice. I admit that sometimes I find it sad and shocking. But life is not always beautiful for everyone. Often experiences are so extremely opposite. But I think in poetry we can come together. We can see each other, hear each other and truly open our hearts and minds at an honest meeting ground. So this morning, I told Quentin that I would publish his words that he sent over spontaneously (all the way from Marche-en-Famenne, Belgium). No we’ve never actually met in person only online. But I think he’s a divine youthful spirit in the world, on his way, on his journey to meet a destiny like the rest of us.
by Quentin Volvert
I seek the dust wandering in time,
Just in time to plant the rose and iris
To take up my blood flowing monsoon
Perhaps intoxicated by the flights of Alice.
Just in time to plant thorns
Who love their venom I hallucinating
Me an old Indian in a sunny vineyard
Singing constantly coaxing me the illusion.
Just time to perch on top of the tree
Observing the ambulance wander among the living kingdom
Of luxuriance. Tell me who is in the ambulance?
Who are the others who pay?
The wind cries of drunken nights I wander and white
In dust time. The time wandering proliferates
In our souls. Behind the comet, seeks its mark
In the dust, leaving the rest, the rest is hunting.
Well yes. Of course it’s the beginning of the biggest week of the year – the most critical week in the life of every single American with our current election. Take a big breath and plunge.
For those of you who are Astrological devotees, this should be a page turner for you…Election Day falls on the very first day of one of the most powerful Mercury Retrogrades we’ve seen in some time. It’s probably going to get messy out there, confusing, electronically defusing or at least be VERY surprising. We’ve decided to go with the flow on this one.
Here in California the Battle of Prop 37 has been raging.
If you’re unfamiliar with the proposition in short it’s to force genetically modified foods to have a label. So far the food industry has spent millions in California advertising against it. Those that are for the bill are not backed by big companies and as such have raised significantly less at this point.
I recently got a couple of videos from Chris at Kinkling Inc. who is donating his time to spread the word. Below is the first of a set of videos. Make up your own mind.
Welcome, red and roundy sun,
Dropping lowly in the west;
Now my hard day’s work is done,
I’m as happy as the best.
Joyful are the thoughts of home,
Now I’m ready for my chair,
So, till morrow-morning’s come,
Bill and mittens, lie ye there!
On Saturday evening I visited the Fifth Floor Gallery on Chung King Road in Chinatown and saw for myself how two artists can make a true global difference in theory, craft, skill and marketability.
Dynamic duo Leo and Lishu of El Dot Designs have taken their OTIS educations on the road, country to country teaching local farmers who are living outside of their own communities and globally marginalized, how to use abundant natural and sustainable resources to create home goods while learning better ways of building. What makes this work is that the designers go into a country and live for an extended period of time (so far they’ve visited Nepal and India), teaching modern design and how to apply it to furniture making craft. Local communities immediately benefit educationally and are able to provide lower cost goods to native buyers. On the bigger scale, it’s an opportunity to provide other countries such as the US with sustainable goods that are practical, useful, truly chic and simply beautiful.
“Bamboo in Nepal is considered a poor man’s wood. It is so available that no one wants to use it. But when we show the people pictures and videos about its use and application they get excited. Bamboo is so incredibly renewable. It’s durable, pliable and it converts 30% more CO2 than a regular tree. A big part of our job is just convincing [them] of the benefits.”
And just for the record the El Dot team also constructs a great part of their US made goods from fallen trees. No intentional chopping and cutting. Just by pure donations and left-overs. (They’ve even taken a request or two.)
The yield is amazing.
Sipping and Such…
I woke up on Sunday morning and knew I needed flowers. As visions of outdoor gardens floated through my fantasy, it occurred to me that along with a breezy tip-toe through the tulips, Afternoon Tea was just the thing.
So I threw my spontaneity headlong into a reservation at Chado Tea Room on Hollywood and Highland, put on my prettiest dress and sandals and walked to the 2nd floor hideaway. I got my flowers in the tea.
A definite girls afternoon, it was fun making new tea loving friends hailing from India (they really loved their Chai!) and looking forward to being invited to the upcoming festival (to be announced soon).
On Saturday, November 3rd @ 7pm Tongue and Groove will EAT WRITE in Highland Park hosted by the Muddy Leek Underground Sustainable Gourmet Supper Club and anevening with seasonal hors d’oeuvres, tapas, house brew & specialty wines.
As an award winning chef and member of Greenopia, Chefs Collaborative & Slow Food Nation, Whitney Flood is well -known for using seasonal organic local foods in developing his menus and his eagerness to experiment with new and unusual parings; a theme that will be topped off that evening by a visit from Boston born, Cuban/Irish/American, internationally touring writer and storyteller Antonio Sacre and singer/writer Alina Simone and a surprise guest poet; surrounded by unique and one of kind artwork of Moryork Gallery.
Antonio Sacre is a particular favorite with Gia On The Move. Having experienced his work for the first time at the 2011 Hollywood Fringe Festival with The Next Best Thing it was clear that his deeply affectionate yet hilarious style of describing life growing up caught between two almost completely opposite cultures, Antonio is a poet of extraordinary proportions. Get a taste here:
Alina Simone is a singer and writer based in Brooklyn, NY, known for her sparse instrumentation and raw delivery. She was born in Kharkov, Ukraine and came to the U.S. at a young age as the daughter of political refugees after her father refused recruitment by the KGB and was blacklisted for ‘refusal to cooperate.’ She first started singing in public, in the doorway of an abandoned bar on Sixth Street in Austin, Texas; soon after the releasing her first EP, Prettier in the Dark (2005). Get a taste here:
Tickets $70 for 1 Ticket / $120 for 2 (all inclusive)
Douglas Hodge explodes onto the stage and delivers an athletic, braveheart performance in a new robust production of the great Cyrano de Bergerac, newly opened at the Roundabout on 42nd St.
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Armed with impeccable costumes, flashing sword play, Rostand’s rhymed couplets, inspired direction, and Cyrano’s plumed hat, Hodge delivers with swaggering panache.
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But of course, his Himalayan nose proceeds him, this colossal peninsula, this mighty stalactite, this ample perch for a bird–his nose arrives before he does. But just as Cyrano’s nose has been his lifelong burden, it too has become his unwitting source of strength through his own separateness. For who is Cyrano, if not one of literature’s most inspiring romantic heroes–a lover, a poet, a fighter, a wit, a knight, all rolled into one. A man standing on the social fringe, unloved by his own mother; a man who has the integrity, humor and courage to stand audaciously alone, free and independent, to boldly speak truth to power.
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For all of his virtues, Cyrano will never miraculously transform from frog to prince and dine at the banquet of love. He imagines love, he divines love, he poetically rhapsodizes. But he keeps his heart quiet for the one he has always loved, Roxanne, and instead uses his profundity and wit as weapons to satirize the powerful, the false and the pompous. He lives his life through word and deed, duels with imposters, and defends his friends. He is loved by his fellow soldiers and poets, but one must never mention his nose, or be met with forty inches of Toledo steel.
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We know Cyrano through film, stage, and literature, and it remains a work to be revisited. As we see, the parallels to human nature are constant throughout the ages, and presently, as America struggles with its own identity crisis, of who we are as a nation, inspirational, ethical, and moral pieces as these will always be metaphorically welcomed. Yes, it can be corny and fatuous to a skeptic, but at heart, a very poignant and universal fairy tale for adults.
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Cyrano is secretly in love with Roxanne from a distance. Roxanne, however, has seen a new recruit, Christian, and falls madly in love with his good looks. She asks Cyrano to a secret meeting while Cyrano’s heart races, thinking she will finally declare her love for him. Instead she tells Cyrano that she loves Christian, and asks Cyrano to protect him from the other troops. When Christian finds out of Roxanne’s love he implores Cyrano to write letters to Roxanne since he lacks the wit and charm. Cyrano agrees and Roxanne falls hopelessly for his romantic, poetic words. In the famous balcony scene, Cyrano speak eloquently for him as well; his fine sequestered words wins a kiss for Christian. He then watches bitterly as they later marry.
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DeGuiche, the nobleman and captain of the brigade also loves Roxanne but is thwarted. He represents everything Cyrano despises. Richly outfitted, socially favored, and pretentious, DeGuiche represents the vices of aristocracy, and is played wonderfully by Patrick Page. When DeGuiche finds he has been outwitted, he quickly dispatches Christian to the front lines in the pending war with Spain, so the marriage can never be consummated.
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Roxanne, played by Clemence Poesy, is a pretty and elegant presence, but whose character is mostly a catalyst in the play .Next to Hodge, who delivers his lines with power, bold inflections and style, her lines sounded mono-tonal and inaudible at times.
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The Direction by Jamie Lloyd (Old Vic, National, Royal Court productions) was brisk, fast paced and full of surprises. Ragueneau’s (Bill Buell) bakery shop scene, with five apprentice bakers at their tables was hilarious, contrasted to the quiet convent scene at the end, years later, presented a wide range of emotional energy and meaning.
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Visually, the sets and costumes by Soutra Gilmour were impeccable. The costumes from the early 17th Century were strong, gutsy, and added a vivid, authentic atmosphere. Cyrano in his pantaloons, blouse, waist coat, sword and hat was perfect, as well as DeGuiche in his finery. Soldiers, friends, and nuns added to the look, and underscored the fine ensemble acting.
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At its core, this is a play about one man, Cyrano. Cyrano has no property, no family, no fortune, but speaks out against falsehoods, is loyal to Roxanne to the cathartic end. Unprotected, he dangerously has many enemies as he exposes sham and deceit. Edmond Rostand wrote the play in the late !9th Century, about a Cyrano de Bergerac who actually existed, a friend and contemporary of Moliere; however Rostand”s Cyrano is only loosely related. The play is about beauty, love, loyalty, endurance, and character and must be savored and reflectively appreciated. This production hits its marks on the nose.
Cyrano de Bergerac began previews on September 14, 2012 and opened officially on October 11, 2012 at the American Airlines Theatre on Broadway (227 West 42nd Street). This will be a limited engagement through November 25, 2012.
PERFORMANCE SCHEDULE
Tuesday–Saturday evenings at 8:00pm; Wednesday, Saturday and Sunday matinees at 2:00pm
Previews began on September 14, 2012
Opening Night: Thursday October 11, 2012
7:00pm Early Curtain Performances: November 13–23, 2012
Sunday, September 16, 2012 evening performance: 7:30pm
Monday, November 19, 2012 evening performance: 7:00pm
Thanksgiving, Thursday, November 22, 2012: no performance
Complimentary Talkbacks: A discussion with the actors following the performance (subject to change without notice): Saturday, October 13 at 2pm; Sunday, October 21, 2012 at 2pm; Sunday, November 18, 2012 at 2pm; Saturday, November 24, 2012 at 2pm.
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Visit the website for ticket information and purchase:
Maddy Wyatt has long been a celebrated mainstay of New York’s singer/songwriter scene, with her lilting voice and hummable melodies earning comparisons to artists such as Feist and Stars.
Accompanied by Paul and Alex, her symphonious siblings, the three have been making music together since banging on pots and pans as kids. With the addition of Zach Lane (bass) and Dana Haynes (keys, vocals) WYATT has morphed from a solo effort for Maddy alone to a collaborative adventure. Since releasing their debut EP as a band in the summer of 2011 they have been making uniquely lyrical, completely unpretentious rhythms, appealing to the ears of audiences ranging from college kids to indie rock elitists; earning praise at festivals such as SXSW and CMJ.
Wyatt believes that music should take care of you, wrap you up like a comfort blanket. I found out in person exactly what that meant when last month I experienced Maddy Wyatt touring on her own, making a stop at LA’s Room 5 Lounge on La Brea Ave.
Singing from the heart she changed from sotto voce to full body clear in a moment – as poetic and uncomplicated as the notes strung on her guitar. ”I have a feeling you’ll sneak up on me,” she sung. And as I listen amazed and enchanted by her breathy vocal variations, occasionally accompanied by friend and fellow performer Daniel Zaitchik, I retorted in my head, “I have a feeling too Maddy.” Evocative and moving but without heaviness, Maddy was truly like a perfect, bright August summer day that pulled on your heartstrings with September right around the corner.
Maddy Wyatt LIVE at The Room 5 Lounge JULY 2012 – Video Coverage by Tracey Paleo Gia On The Move
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Gia: Kind of fun that you can use your own name WYATT and that happens to be only the coolest name for a band…lol…What do you think really sets WYATT apart from other indie bands?
Maddy: Thanks! Well, with three of us in the band having that last name, it seemed like the logical choice. I had all sorts of crazy name ideas, but my brothers Paul and Alex were like “Yeah…let’s just call it WYATT.” I think the sibling thing is something that sets us apart. We’ve been making music together, on some level, since we were really little, so there’s a common language there that’s unique to us, I think. But the types of music we each gravitated towards (me towards folk, Alex to jazz, Paul to psych rock) all influence the WYATT sound, which I think creates a unique experience for the listener. It continues to surprise them. And us!
Gia: Your new song, “Leonah.” It’s really sweet and fun. There’s an innocence about it. Can you give me a little bit of insight into it?
Maddy: Lyrically, it’s one of the more abstract songs we’ve got. I’d been thinking about the name Leonah for a while, just how lovely it was…and then Paul came to me with this chorus melody that was a perfect fit for it. It’s a very kinetic song, musically, and the words mirror that – it’s all about movement – getting out, getting away, having adventures, and having someone around who wants to have them too.
Gia: The music in Leonah is so earthly and yet urban. What was your inspiration for it?
Maddy: Musically, Paul was the impetus for Leonah. I think he’d been wanting to write something more repetitive and atmospheric for the band, but also a real honest rock song, which I think is what it became. It’s one of the quickest, easiest collaborations we’ve had – one of those songs that just came together – and one of the first times I felt like we were really on to something as a band.
Gia: …and the video…the imagery…friendship, joy, love…it also feels like a sort of internal journey, a little bit of a discovery…am I way off the mark with that?
Maddy: No, that’s great. Our friend and awesome video artist Brian Hissong directed the video, and I think he captured the essence of the song so well – which, for lack of a better phrase, is “do what the fuck you wanna do.” You know? Live your life, be true to your heart’s desires, and surround yourself with the people who will give you the freedom to do so, and love you for it.
Gia: I’m told a full-length album is also in the works. When can we expect that?
Maddy: Yes! We’ll start work in earnest on the full-length in the fall, hoping to have it done by spring, right around SXSW time.
Gia: You are the singer/songwriter of the group. What kind of pressure goes along with that. How does the band stay balanced and sane? Is that even possible?
Maddy: I’m certainly the main singer and write a lot of the material, but we’ve become a much more collaborative band over the past year or so. Paul and I write together so often now and arrangement-wise, it’s a real collaborative effort with the band. Dana and Zach bring a lot to the table on keys and bass, and the band’s dialogue for what works and doesn’t work just gets more open and exciting as we roll along. Communication a a big dose of humor keep us fairly sane, I think.
In terms of steering the ship, that naturally falls on me, and can get a little overwhelming once in a while…but, one thing at a time, right? And lists. I’ve gotten a lot better at making lists, and checking things off. Very satisfying.
Gia: Maddy, with all of the songs you’ve written, learned, played, sung, what does your music really mean to you?
Maddy: I think of our songs as a document, a way of getting through and holding onto the crazy difficult and gorgeous moments of life. I’ve said for a very long time: music should take care of you, and that’s the kind of music I aim to write.
Watch the video hosted by Hollywood Fringe Festival Director, Ben Hill, by clicking here. This link will also take you directly to the Kickstarter page.
This June hundreds of artists from all over the world converge on Hollywood for two weeks of shows, laughter and merriment at the third annual Hollywood Fringe Festival.
Countless mysteries lurk around every corner; shows that tickle, entertain, challenge, enlighten and overwhelm. Simply put, the biggest arts celebration in the West.
As we strive to improve the Fringe year over year, the expense of spectacle, mirth, and promotion weigh heavily on our financial resources. With costs rising and avenues for institutional funding shrinking, the sad truth is that the Fringe could disappear without your help. And so we ask you – humbly, earnestly, and urgently – to reach into your pocket to support the Hollywood Fringe. We need you more than ever. We have partnered with Kickstarter.com to raise an ambitious $20,000 for this year’s festival. If we reach that goal, the funds are released. If we don’t reach it, we get nothing (and you pay nothing). CLICK HERE to sponsor the Hollywood Fringe Festival (make sure to check out the video on that page for more details).
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When the founders began this venture over 5 years ago, we had no idea this artistic movement would generate so much excitement in the global arts community. Our first year alone attracted over 170 artistic groups. We were blown away when our second year brought more than 200.
This year, our sights are set even higher. We are launching new programs for standup comedy, music, students, internships, and environmental sustainability. Our central gathering point is a beautiful (some might say ‘epic’) two-storied complex with multiple stages, a concierge station, student and family events and lots of space for the community to gather, plan and converse. It goes without saying that these initiatives come at great expense and sometimes the breadth of our ambition overtakes the availability of our resources.
We are a nonprofit which means we seek a percentage of our operating money from good people like you; those that understand that access to culture is critically important to our society and our community. We know times are tight and all of us are counting our pennies; truly any amount, large or small, can make a huge difference.
Please consider helping a cause that matters to all of us. A world without art is a cold place. For a few weeks a year, the Fringe warms us up. We want to keep it that way.
I looked up to the balcony section and all I could see were sneakers lodged over the rail. Clearly everyone was getting comfortable. I giggled to myself. It was definitely not my normal scene and yet I was totally ‘feelin’ it’. I liked the edge, the crowd and all the east coast about it. No one cared about being impressed. They just showed up for the Real. And I relaxed into it.
“Watch me take my Lemons and make the best goddamned Lemonade!”
It was much sweeter than lemonade this evening watching Tony Award-winning actor and playwright Lemon Anderson perform his true life story as a poetic rap at a special invite only, first Los Angeles live stage performance of County of Kings, at the The Montalban Theater in Hollywood presented by SA Studios.
Originally produced by Spike Lee at the Public Theater in NYC, County of Kings showcases Lemon’s unique voice flowing from hard-edged drama to street poetry, creating a vivid portrait of his adverse yet often humorous coming-of-age experiences while growing up in 80′s and 90′s Brooklyn. County of Kings has been staged for audiences across the US, Europe and South Africa, and will now be making its Los Angeles debut.
It’s a beautiful struggle right from the beginning dancing for his mother Millie at the Himilayan and dreaming about a career as a car thief just like his step dad; discovering his passed out mother who is not eating a sausage but swallowing her tongue according the neighboring ghetto drag queen down the hall, is a heroine addict and living the most adult life no child should experience when shortly after he finds out that both his parents are dying from aids in the deadly early era 70′s. He copes with disco, American Bandstand, Andy Gibb, ballet school, rap, gansta and finally drug dealing until he lands himself in Rikers Island for a year in prison and a bootcamp program that saves his life when he finally discovers his true love – poetry.
A Thrilling, Deep, Gritty, Totally Street Meaty, heartfelt performance!
A monthly offering of short fiction, personal essays, poetry, spoken word + music. Produced by Conrad Romo and featuring: Chiwan ChoiAbductions, Ed Lin One Red Bastard, Traci Kato Kiriyama, Suzanne Whang and musical guest Meiko
Sunday May 20th
6-7:30 pm
The Hotel Cafe
1623 1/2 N. Cahuenga Blvd.
Hollywood, Ca 90028
$6.00
Chiwan Choi is a writer, editor, teacher, and publisher. Abductions is his second book of poetry.
Ed Lin is the author of Waylaid, This Is a Bust and Snakes Can’t Run. Lin, who is of Taiwanese and Chinese descent, is the first author to win three Asian American Literary Awards. The native New Yorker’s latest book is One Red Bastard, by Minotaur.
Traci Akemi Kato-Kiriyamais the creator/ producer of Tuesday Night Café in Little Tokyo. She is a writer, performing artist, educator and grassroots organizer. She tours throughout the country with shows, workshops, & her book of poetry, signaling, and is currently working with stage partner and aerial artist Kennedy Kabasares as they expand their piece, PULL: tales of obsession, supported by the Center for Cultural Innovation/Durfee Foundation.
Suzanne Whang is an actor, television host, stand-up comedian, author, keynote speaker, radio host, writer, Universal Life minister, and political activist. Suzanne has made many television appearances.
Meiko is an American indie singer/songwriter, born and raised in Roberta, Georgia. She independently released a self-titled album on September 1, 2007 — without the help of a record label, her album reached #35 on the iTunes Top 100 Albums chart. It was also iTunes’ #1 Folk album for over a month and in under nine months, over 200,000 singles had been downloaded from iTunes. Several tracks have been featured in primetime TV shows.
Come one, come all and come early! Seating is limited and we start on time. www.tongueandgroovela.com
I have a special place in my heart for Kerouac. Having auditioned at one time for Francis Ford Coppola in his quest to produce a film version which turned into a radio version of On The Road, it is pretty awesome to finally have some of my homies from Massachusetts present our homie in the world premiere of Kerouac’s one and only full-length play. GO UMASS!
Merrimack Repertory Theatreand the University of Massachusetts Lowell announced today – which would have been Jack Kerouac’s 90th birthday – they will present the world premiere of the Lowell native and literary icon’s only full-length play, “Beat Generation,” in a staged reading for eight performances only.
The world premiere of the play is the centerpiece of the 2012 Jack Kerouac Literary Festival, which will be held Oct. 10 through Oct. 14 in Lowell, Kerouac’s hometown. The festival – held every two years by UMass Lowell, Lowell Celebrates Kerouac! and numerous other community partners – features a variety of programs inspired by Kerouac’s works and life in Lowell, and showcases prominent contemporary authors. Anita Shreve, Russell Banks and Andre Dubus III were among the writers who participated in the last Kerouac Literary Festival. This year’s theme is “Writing and Music.”
“Beat Generation” is a story of friendship and karma set in the 1950s and its characters and dialogue capture the Beat mentality at the roots of American counter culture as only Kerouac could. The play’s premiere is being presented in Lowell with the support and collaboration of Kerouac Literary Estate representative John Sampas.
“At midcentury, Jack Kerouacand his fellow Beat writers posed a series of pertinent questions regarding the assumptions of the Cold War, the attractions of suburban family life, the costs of conspicuous consumption, and what they saw as American spiritual deprivation,” said Todd Tietchen, a UMass Lowell English professor and expert on Beat Generation writers. “Those questions take center stage in ‘Beat Generation,’ as the principal figures of this important literary movement reaffirm their friendship in a search for alternative approaches to life,” said Todd Tietchen, a UMass Lowell English professor and expert on Beat Generation writers.
The play’s premiere and the festival come during what many are calling “The Year of Kerouac,” which also includes the theatrical release of the feature film “On the Road,” based on the author’s most famous book and the U.S. publication of the recently discovered Kerouac novel, “The Sea is My Brother.”
“This is a moment of literary and theatrical history,” said MRT Artistic Director Charles Towers. “When the ‘Beat Generation’ manuscript was discovered in a warehouse in 2005, it made international news. Such is the remarkable influence of Kerouac on contemporary culture. Now, the entire script of ‘Beat Generation’ will be first spoken aloud on the stage inLowell, his native city, and it is fitting that Lowell’s professional theater company – Merrimack Repertory Theatre – is producing its world premiere.”
MRT has a history of being the first to present Kerouac’s works to audiences. Its performance space, known as Liberty Hall, was the site in the 1980s of several sold-out screenings of the premiere of John Antonelli’s documentary, “Kerouac, the Movie” and in the 1990s, the stage adaptation of Kerouac’s Lowell-set romance, “Maggie Cassidy.”
UMass Lowell is home to the Jack and Stella Kerouac Center for Public Humanities, which works to strengthen the study of American culture through academic and other programs, including serving as the home for the Kerouac Writer-in-Residence program, the New England Poetry Conference and the literary festival. The center was established with the support of the Kerouac Estate and Sampas, who has generously granted permission for the first presentation of “Beat Generation” in Lowell.
The university posthumously awarded Kerouac an honorary doctor of letters degree in 2007. That same year, the university and Lowell National Historical Park hosted an award-winning exhibit of the “On The Road” scroll – Kerouac’s 120-foot-long original version of the manuscript – in honor of the 50th anniversary of the novel’s publication. The exhibit drew more than 25,000 people to Lowell.
“It is very exciting for UMass Lowell to be part of the world premiere of Jack Kerouac’s only full-length play,” said UMass Lowell Chancellor Marty Meehan. “As Kerouac’s artistic influence on this city, his hometown, is still so great, it is important that this work be presented in Lowell first. UMass Lowell is proud to partner with Merrimack Repertory Theatre to bring this unique literary experience to our students and the community.”
Ticket and casting information for the premiere of “Beat Generation” will be announced at a later date. For more on the production and the Kerouac Literary Festival, visit http://www.uml.edu/kerouacplay. The website will be updated regularly with details on both in the coming months.
ABOUT JACK KEROUAC
Born Jean-Louis Kerouac in 1922, Kerouac is Lowell’s most famous native son. He was a football star at Lowell High School and was awarded a scholarship to Columbia University. However, Kerouac was unhappy in college and after his father lost his printing business, he dropped out of school. During World War II, he joined the Merchant Marine and became friends with Neal Cassady, Allen Ginsberg and William S. Burroughs. Kerouac wrote his first novel, “The Town and the City,” about his struggle to balance the expectations of his family with his unconventional life, which was published in 1950 with Ginsberg’s help. Kerouac took several cross-country trips with Cassady during this time, which became the basis for his most famous work, “On The Road.” The manuscript – presented to his editor on a single, unbroken roll of paper, the scroll that was later exhibited in Lowell – was rejected and six years would pass before it was published in 1957. In the years in between, Kerouac followed Ginsberg and Cassady to San Francisco and the term “Beat Generation,” which Kerouac coined, gained popularity. When Kerouac finally broke through with the release of “On The Road,” he was faced with challenges presented by the fame that followed, trying to live up to the image portrayed in his novels and facing criticism from the literary establishment for being part of what was considered a fad. He would go on to publish additional novels, many of which used settings based on Lowell – including “Doctor Sax,” “The Subterraneans,” “The Dharma Bums” and his final great work, “Big Sur.” He settled in Florida with his wife, Stella Sampas, and his mother, where he died in 1969 at age 47. He was buried in Lowell. Even after his death, Kerouac’s popularity continues. “On The Road” has remained widely read and Kerouac was named one of the most important figures of the 20th century by LIFE Magazine and the Times of London. In recent years, interest in Kerouac has grown with the publication of his letters, poetry, spiritual writings, early novels and more from his remarkable literary archive. He has been cited as an influence by countless writers and musicians, including The Doors. A 2005 forum in New York featured a reading of a passage from “Beat Generation” by actor Ethan Hawke, but to date, the play has yet to be staged in its entirety.
ABOUT THE PRODUCERS
Founded in 1979 by a group of committed civic leaders, Merrimack Repertory Theatre’s mission is “to advance the cause of human understanding by creating theatrical productions at the highest level of artistic excellence and making them affordable to the broadest possible community.” Merrimack Rep’s unique artistic vision is shaped by a passion for excellence and a profound commitment to its community. It strives to enhance the community’s quality of life while contributing to its economic strength, measuring success by the depth of the company’s artistic and social contribution to the region. A member of the League of Resident Theatres (LORT), MRT has received hundreds of awards and accolades, including recognition in American Theatre Magazine, The Boston Globe, Boston Magazine and The New York Times for artistic excellence and its contribution to the community. MRT’s history comprises more than 210 productions including 16 world premieres and 34 regional premieres, contributing significantly to the canon of the American theater and bringing new plays to audiences throughout New England. Merrimack Repertory Theatre’s 2011-2012 season is sponsored by Lowell Bank. Merrimack Repertory Theatre is funded in part by the Massachusetts Cultural Council. For details on MRT’s season information, show times, tickets, directions or to request a brochure, visit www.merrimackrep.org or call 978-654-4MRT (4678).
UMass Lowell is a comprehensive, national research university located on a high-energy campus in the heart of a global community. The university offers its 15,000 students bachelor’s, master’s and doctoral degrees in engineering, education, fine arts, health and environment, humanities, liberal arts, management, sciences and social sciences. UMass Lowell delivers high-quality educational programs, vigorous hands-on learning and personal attention from leading faculty and staff, all of which prepare graduates to be ready for work, for life and for all the world offers. www.uml.edu
After posting yesterday’s blog I suddenly got the urge to look up one of my favorite old movies starring Jack Lemon and Lee Remmick. It’s not hard to appreciate the poetry on the page and on screen. Painful and beautiful, these are the brief and fleeting moments that give ‘pause’ power over sentiment, bear truth rather than indulge in fantasy and leave us with exquisite lasting beauty.
LA Plaza de Cultura y Artez 501 North Main Street Los Angeles, CA 90012 3:00pm – 4:30pm (across the street from Olivera Street and the Pico House) For more information about LA Plaza, visit: lapca.org
Enjoy a FREE! reading at a new LA Cultural Center, the La Plaza.
Cuentos Del Pueblo a series of short fiction, story telling, poetry and music produced by the always ambitious Conrad Romo.
This month features Dagoberto Gilb, Before the End, After the Beginning, Susana Chavez-Silverman Killer Cronicas: Bilingual Memories, Sam Quinones Antonio’s Gun and Delfino’s Dream: True Tales of Mexican Migration, Poet Karla Diaz, and musical guest Charles De Castro.
Dagoberto Gilb was born in Los Angeles. He attended the University of California, Santa Barbara, where he earned both bachelor’s and master’s degrees. Gilb embarked on a career in construction, became a journeyman carpenter, and joined the United Brotherhood of Carpenters and Joiners in Los Angeles. Influenced by Raymond Carve he turned to short stories. He now has written six books and has been published widely including the New Yorker magazine and Harpers. He won the 1994 PEN/Hemingway Foundation Award.
Sam Quinones is a journalist and author of two acclaimed books of nonfiction growing out of 10 years he spent in Mexico as a freelance writer. He teaches Tell Your True Tale writing workshops, and a storytelling experiment of the same name.
Susana Chávez-Silverman teaches courses on U.S. Latin@ and Latin American literature and culture at Pomona College in Claremont. The genesis of her book, Killer Crónicas: Bilingual Memories, was in bilingual, code-switching e-mails she wrote while living in Buenos Aires. She called these collective e-mail missives “crónicas” [chronicles], inspired by the rough-hewn, journalistic, often fantastic first-hand accounts of the so-called New World sent “home” by the early conquistadores. Her second book of crónicas, Scenes from la Cuenca de Los Angeles y otros Natural Disasters was published last year.
Karla Diaz is a writer, artist and educator born and raised in Los Angeles. She received her MFA from California Institute of the Arts. She has read her poetry, and exhibited art projects and put together shows in many local, national and international venues including MOCA, LACMA, Dab 717 Gallery in Cairo, Instituto Cervantez in Madrid to name a few. She is a former co-director of exhibitions at the New Chinatown Barbershop gallery in Los Angeles and a founding member of Slanguage Studio, an artist-run space in Wilmington where she currently runs exhibitions and programming.
