Arcos Dance artistic director Curtis Uhlemann describes the scene for
“46 Thousand,” a piece he choreographed with his co-director Erica
Gionfriddo: The scaffolds are black, the dancers wear black (their hair
down) and musician Andy Primm sits above them with his drum kit, playing
a piece inspired by the John Bonham solo “Bonzo’s Montreux.”
From the street-side of The Peñasco Theatre,
where a folksy mural tells of people building their community together,
the theatre’s owner Alessandra Ogren walks me to the north side of the
building where a new mural by Rebeka Tarín and Amaryllis de Jesus
Moleski offers a meta-response to images on the front, mixing folk
iconography with urban-contemporary references.
Love & Emma Goldman: A Rock Opera is about the enduring human voice. The original production by Sarah-Jane Moody and Jeremy Bleich (aka the experimental pop duo GoGoSnapRadio) is also about taking action for one’s beliefs. It’s about violence, justice, freedom and love. It’s about Emma Goldman, the turn-of-the-century anarchist who spoke up, was deported and disappeared into history.
The cast is rehearsing the last scene of Fortunato when I arrive at Teatro Paraguas’ new location, a few units down from its old black-box space in the Agua Fría Village. They’re having trouble finding momentum.
Lines are forgotten. Props are dropped. Cues are missed. And the scene comes to a halt when actor Marcos Maez leans against a giant target, only to have it collapse behind him with a rattling crash and the sound of glass breaking.
I caused the 2010 BP oil spill in the Gulf of Mexico. This is my
conclusion after speaking with Argos MacCallum of Teatro Paraguas about
the company’s reading of The Way of Water, Caridad Svich’s play about
four people affected by said disaster.
The Lensic theater space turns 80 this year and simultaneously celebrates 10 years since it became the nonprofit Lensic Performing Arts Center. The Lensic marks this milestone with the same varied arsenal of events it has wielded throughout its history.