Podcasts about theatre dance

It takes a village - and multiple revisions! - to mount a modern, original opera. Key Change co-hosts Andrea Fellows Fineberg and Anna Garcia journey to an orchestral workshop for The Pigeon Keeper, a first for Opera For All Voices (OFAV)!  Imagine a stage filled with an eight-member student orchestra, four principal singers, and a women's chorus. Drop in the composer, librettist, and members of the OFAV team. Truncate the rehearsal period and invite an audience for a live presentation plus a feedback session. Now, you understand the excitement and angst surrounding an orchestral workshop. Andrea reconnects with Stephanie Fleischmann, librettist, and David Hanlon, composer, the imaginative duo behind this poignant story of home and hospitality in a time of conflict and need, along with Kelly Kuo, music director & conductor. We also hear from the extended community of artists and students of the University of Michigan School of Music, Theatre & Dance, who are shepherding The Pigeon Keeper from page to stage–with Daniel Millan, clarinetist; Nathan Harah, Kosmo; Ava Hawkins, ensemble; Jamiyah Hudson, ensemble; and Rada Grin, mother of Nathan Harah. “As people who've been fully invested in this project, it's often very difficult to be objective about what's actually being communicated [by the piece],” says Kelly, who notes that university collaborations, like this one with the U-M, provide the creative team with invaluable contextual information. Workshops also allow students to interact with professional companies. “The chorus is made up of undergraduates volunteering time outside their own classwork and their other choruses,” marvels Kelly. “It says a lot about their commitment to this project.” “It's speaking to their hearts,” observes Stephanie. “That makes me feel like the message of the piece is reaching all people.”  But how did the audience respond? You'll have to wait until our next episode to find out. Thank you to Caitlin Lynch, Jayce Ogren, and the University of Michigan School of Music, Theatre & Dance.  Interviews with David, Stephanie & Kelly and Nathan & Rada recorded by Dave Schall at DSA Villa Valentine Studio, outside Ann Arbor, MI. Additional voice recording by Ice Cream Sound Studios, Los Angeles, CA. MENTIONED IN THIS EPISODE Arts Initiative at the University of Michigan University of Michigan School of Music, Theatre & Dance San Francisco Boys Chorus Contemporary Directions Ensemble Freedom House THE PIGEON KEEPER CREATIVE TEAM Stephanie Fleischmann, Librettist David Hanlon, Composer Kelly Kuo, Music Director And Conductor RELATED EPISODES Season 2 Episode 4 - Hope Is the Thing With Feathers: A first look at The Pigeon Keeper Season 4 Episode 4 - In a Room Making Music With People: The Pigeon Keeper with Stephanie Fleischmann and David Hanlon Season 4 Episode 9 - Competing Interest: How Do You Workshop a New Opera? *** Key Change is a production of The Santa Fe Opera in collaboration with Opera for All Voices. Produced and edited by Andrea Klunder at The Creative Impostor Studios Hosted by Andrea Fellows Fineberg & Anna Garcia Audio Engineer: Kabby at Kabby Sound Studios in Santa Fe Technical Director: Edwin R. Ruiz Production Support from Alex Riegler Show Notes by Lisa Widder Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello Cover art by Dylan Crouch This podcast is made possible due to the generous funding from the Hankins Foundation, the Andrew W. Mellon Foundation, and an Opera America Innovation Grant supported by the Anne & Gordon Getty Foundation.   To learn more about Opera For All Voices, visit SantaFeOpera.org. And for more Key Change, visit SantaFeOpera.org/KeyChange.  

ON THE TOWN  Music by Leonard Bernstein | Book & Lyrics by Betty Comden & Adolph Green | Based on an Idea by Jerome Robbins Works Consulted & Reference :On the Town (Original Libretto) by Betty Comden & Adolph Green"Innocents on Broadway" by Adam Green in the November 2014 issue of Vanity Fair Broadway: The American Musical (PBS) Music Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Act 1: Opening: New York , New York” from  On The Town (Studio Cast Recording (1960)) | Music by Leonard Bernstein | Lyrics by Betty Comden & Adolph Green | Performed by Leonard Bernstein, Michael Kermoyan, Adolph Green, John Reardon, Cris Alexander, On the Town Ensemble (1960), & On the Town Orchestra (1960)  "Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

This week I have a very special guest on the show, Author, Choreographer and Mobility Coach Tara Lynn Steele.   Tara Lynn and I discuss: What we should know about our cycle Why knowing more about our cycles can be so powerful. Setting ourselves up for each of the four phases of our cycle Tara Lynn's advice for women experiencing PMS symptoms The importance of breath work What the pill or IUD is doing to our cycle Figuring out where to go to learn how to “bio-hack” our menstrual cycles How and what to eat when on your cycle Joint mobility and how Tara Lynn helps with it Forms of exercise that are good to do during the different cycle phases One last piece of health advice Tara Lynn would like to leave the listeners with.   More about Tara Lynn: Tara Lynn is a certified FRC mobility specialist with the goal to invigorate curious wigglers so that they can expand functional range of motion, create intentional movement with ease, and adapt to variables in their everyday life. All while tuning into their internal rhythms and superpowers. Tara Lynn's approach to life is curious & collaborative. Already an accomplished dancer, choreographer & aerialist, curiosity led her to examine the ways in which our bodies can become inefficient or immobile, to create solutions & bio-hack her own human hardware. Armed with degrees in Theatre & Dance from The University of Alabama, her MBA from across the pond, as well as professional certifications in Functional Range Mobility & Yoga, she founded Steele Mobility & co-founded Unleash Your Superpowers to guide others toward harmony in their human hardware through movement & cyclical power.   Connect with Tara Lynn: Website: https://unleash-your-superpowers.com/ Facebook: https://www.facebook.com/UnleashYourSuperpowers Instagram: https://www.instagram.com/unleashyoursuperpowers/   Want to do Pilates with me? Click HERE to grab your Free 15-Minute Core Workout. And if you want to know more about how you can kickstart your weightloss and fitness journey, check out Lean 14 HERE!   Haven't subscribed to the podcast yet? Subscribe HERE and never miss an episode.   Connect with Kate: Website: www.MindMovementHealth.com.au Facebook: http://www.facebook.com/MindMovementHealth Instagram: http://instagram.com/MindMovementHealth  

In this episode, we caught up with Joe Jackson, who is the Department of Theatre & Film's new Instructional Assistant Professor of Musical Theatre Dance. Fun fact about Joe—he's actually an alum of our program! We talked about that, and what he's teaching, and so many other things.More about Joe: http://theatreandfilm.olemiss.edu/JoeJackson.html

This episode is also available as a blog post: https://thecitylife.org/2022/10/19/the-national-arts-club-hosts-free-visual-arts-lectures-music-theatre-dance-performances-author-talks-more-in-november/ --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Guests - Monica Giavanna and Skye MattoxHosted By - Courtney Ortiz and Lesley MealorIn Episode 105 of Making The Impact - A Dance Competition Podcast, we tackle the wonderful world of dancing in heels! From commercial dance to theatre jazz, there are a surprising amount of things to consider when adding a few inches to your shoes! Joining us today are professional dancers Skye Mattox and Monica Giavanna to give you some helpful hints for dancing in heels.Topics Include: Why heels training is important The differences between dancing in heels in the commercial world and the theatre world How to incorporate heels training in the studioIf you love Making The Impact and want to support our podcast, buy us a coffee now on Ko-Fi! Your donation will go directly towards helping create quality content for future episodes. We appreciate your support! ❤️Follow your Hosts & Guests!Courtney Ortiz - @courtney.ortizLesley Mealor - @miss.lesley.danceMonica Giavanna - @monicagiavannaSkye Mattox - @skye_mattoxCheck out our guest's current projects! Take theatre jazz class in heels with Skye at Steps on Broadway and Broadway Dance Center!Check out some of the products we spoke about in the episode! La Duca Shoes Bloch Split Flex SoDanca Broadway CabaretBurju ShoesThis episode is sponsored by:Dance Costumes by UrzúaCustom Dance Costumes and Dancewear for made every body! Use code: IMPACT15 for 15% off all costumes and dancewear!Check out IDA Affiliated Competition Star Talent Productions!View their 2022 season tour dates and register now at www.startalentproductions.com Join our NEW Facebook Group and connect with us! Making The Impact - A Dance Competition Podcast Community Leave us a review on Apple Podcasts! We would love to hear from you! Join our Newsletter for weekly episode releases straight to your inbox! Follow Impact Dance Adjudicators on social media @impactdanceadjudicators and for a list of affiliated dance competitions, visit our website at www.impactdanceadjudicators.comSupport the show

Maureen McGill, MA, BFA, is an Associate Professor of Theatre/Dance at Pacific Lutheran University in Tacoma, Washington. She directs the university dance ensemble and teaches courses in dance, movement and choreography. Healing Arts of Mind and Body is a course she has designed which focuses on alternative healing, energy medicine and body modalities. Meditation, Relaxation and Dance workshops are part of her passions, where she also teaches at the Breast Cancer Resource Center in the Tacoma/Seattle region. Maureen's keen interest in the intuitive arts has expanded her curiosity to the spiritual side of life and death. She is a featured reader of tarot and appears at Intuitive Arts Fairs in the Seattle region. As a frequent guest on local and international radio networks, her work has opened doors using symbols and metaphors to help those find light in the midst of loss and grief.Nola Davis, CEO, NHA, has spent the last thirty-three years working in the senior healthcare industry. Working with the elderly helped lay the foundation for her desire to understand the spiritual aspects of death. Her work as a healthcare administrator provided the opportunity to understand hospice and involve hospice services within the facilities where she worked. As a CEO of a healthcare corporation she now aspires to bring integrative services which support the body, mind and soul into the every day realm of healthcare. She has studied Healing Touch with Healing Touch International as well as other facets of the world of complimentary medicine. Nola lives with her husband in the Pacific Northwest.This presentation is from the 2011 Ozark Mountain Transformation Conference.FOLLOW US ON:Facebook: https://goo.gl/rwvBfwInstagram: https://www.instagram.com/ozarkmtpubTwitter: https://goo.gl/LunK5DWebsite: https://goo.gl/2d5cX4ASSOCIATED LINKS:Ozark Mountain Publishing, Inc.: https://goo.gl/xhgoAPQuantum Healing Hypnosis Academy: https://goo.gl/64G7RD

Linh An is a dancer/choreographer from Hanoi, Vietnam whose choreographies are influenced by Theatre jazz style dance. She is the co founder of ‘Theatre Dance Vietnam', aiming to build a community platform for those looking to immerse themselves and experience theatre jazz dance. We discuss her background studying and performing in New York and London, her current projects, keeping up with mainstream trends as an artist, and discuss both dance and Hanoi in more detail. You can find out more about Theatre Dance Vietnam on Instagram and Facebook and more about ComebaCK at @thecomebackwithck on Instagram (Website coming soon!)

Today Liz Bayley is here so we're Chewing Over all things dance and drama! We'll visit dance injuries in lockdown, how performers have coped, if theatres can reworn safely and how imposter syndrome varies between performing and consulting! Your lunchtime daily show 12:30-13:00 with Jack Chew chatting about whatever is topical. Usually healthcare and education, occasionally current affairs, always honest.

Isabella Verrico, King Boateng, Naz Yeni, Che Francis and Robert Price participate in a conversation about the possibilities and risks of training in the Drama School recorded on Saturday 27th April 2021. The discussion was facilitated by Dr. Sarah Weston of The University of Bolton. Sarah is a Lecturer in Theatre and Performance specialising in applied and community theatre, devised theatre and voice. She is also a theatre practitioner and playwright who works in community settings across the North West of England. She is co-director of Salford Community Theatre.She graduated from the University of Leeds in 2018 with her PhD entitled ‘Political Voice as Embodied Performance: young women, politics and engagement.' Previous to this she studied MA Applied Theatre at the University of Manchester and BA Drama with Philosophy at Royal Holloway University of London. She is a Coordinator for the TAPRA Performer Training Working Group as well as Co-Editor of the Theatre Dance and Performance Training Blog. She has published in Research in Drama Education: The Applied Theatre Journal, Theatre Dance and Performance Training, The Journal for Interdisciplinary Voice Studies, and The Journal for Deliberation.King Boateng is an Actor and Lamda graduate represented by United Agents.Naz Yeni is a theatre maker, researcher and lecturer and a graduate of the Birmingham School of Speech and Drama. Isabella Verrico is an actor and graduate of Lamda's two year training (curently an MFA)Che Francis is an actor and graduate of Lamda's two year training.  Please feel free to contact robert at robertprice1869@gmail.com to continue the conversation.Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=EKHEKXBAZBQG6¤cy_code=GBP)

Frank and Saga discuss Saga's thesis, "Our Beds Are Islands: Creating Queer Intimacy Through Physical Theatre In The Age Of Streaming Media", which included a theatre performance in the fall. If you'd like to hear more from Saga, check out this TEDx event from January 2020 (referenced on the podcast): https://www.ted.com/talks/robbin_derry_and_saga_darnell_understanding_non_binary_excerpts_from_a_correspondence

Variations 1, 2, 3. Our first stop is in Vienna, Austria with Professor Christopher Hinterhuber, a celebrated pianist for whom the Goldberg Variations has been a consistent source of inspiration. Hinterhuber connects variations 1, 2, and 3 to musical traditions such as the polonaise, and shows how Bach's music exists in relation to his predecessors. ‍Interview and performance recorded October 25, 2017 in Vienna, Austria. Episode Photo credit: Nancy Horowitz. Additional musical credits, used with permission: Chopin, Polonaise-Fantasie, op. 61, Hugo Kitano performing, published December 26, 2018; Bach, Toccata and Fugue in F Major, BWV 540, James Kibbie performing. Sponsored by the University of Michigan School of Music, Theatre & Dance with generous support from Dr. Barbara Furin Sloat in honor of J. Barry Sloat. Additional support provided by the Office of Vice-President for Research, the University of Michigan; "Premier bransle de Bourgongne," Zdeněk Seidl performing, published November 21, 2019.

In this episode, Antonio speaks with Dr. Rachel Carrico, an assistant professor of dance studies in the School of Theatre + Dance. Rachel shares her varied path to her “dream job” at UF and talks about what it means to have the freedom to belong. She also talks about her revolutionary experience with the Faculty Success Program, which she calls a “gift of support” for first-year faculty members.

Teresa Perez Ceccon has been teaching dance for over 25 years. She teaches Simonson technique classes and Simonson Method of Teacher Training in and around New York City and travels each year to Europe and Canada to conduct Simonson pedagogy and dance technique workshops. Certified in Simonson Method of Teacher Training, 1997, Teresa has taught Simonson Technique at Dance New Amsterdam, formerly Dance Space Center, since 1997. She is also a teacher of Simonson Method of Teacher Training, assisting Lynn Simonson, since 2003. Teresa is also an active teacher of Yoga and Pilates. A native New Yorker, Teresa earned a BA in Theatre/Dance from Queens College, where she later taught Dance as an Adjunct Professor for over 10 years. She was also an adjunct professor of Jazz dance at Hofstra University and a movement teacher at the Stella Adler Studio of Acting. Teresa has been invited as a guest artist to many art centers and institutions, including Montclair State University, Barnard College, University of Tennessee, Sarah Lawrence College, Centenary University, Middlesex County College and Manhattanville College.

On this episode of West of Broadway, Will & Wendy are shifting focus slightly away from celebrating Musical Theater in Los Angeles and on the West Coast to celebrating Musical Theater FROM Los Angeles. With the recent announcement that the Broadway Industry will be staying closed until 2021, it is now more important than ever that we support arts education. Will and Wendy sit down with Director of Sales and Partnerships for PASSDOOR and one of their Visiting Educators, James Tabeek do discuss how they are working to help change the face of tomorrow’s Broadway by educating the young artists of today. PASSDOOR The new virtual platform offers intimate dance classes taught by seasoned Broadway performers. Offering over 40 live dance classes per week for aspiring dancers of all ages and skill levels. The emerging company in the New York theatre scene, announced the launch of their virtual platform which hosts professional-level dance classes taught solely by seasoned Broadway performers. Through the instruction of these notable teaching artists who have appeared in over 100 Broadway shows, students on Passdoor will learn dance techniques, skills and choreography from the comfort of their own home — regardless of personal skill level or age. With Broadway dark due to COVID-19, PassDoor was born out of the necessity to provide out-of-work performers an outlet for their art — the opportunity to train, connect and share their talents with future generations of dancers. Each Passdoor class is capped at 20 students, therefore allowing the instructors to provide direct feedback live. Classes are offered in the Ballet, Ballet Barre, Broadway Choreo, Children’s Theatre Playhouse, Jazz, Hip Hop, Tap, Theatre Dance and Theatre Jazz modalities, formatted for both adults and children. “We formed PassDoor out of a need to help displaced Broadway Dancers due to the Pandemic, but quickly discovered it could be so much more. Not only are we providing a space for current professional artists to create and share their craft, but because everything is online, we have an opportunity to change the face of tomorrow’s Broadway by educating the young artists of today that might not have access to theatre or the arts,” said Megan Sikora, Director of Sales & Partnerships of Passdoor. “The team of teachers PassDoor has assembled are the absolute A-list of Broadway talent. Truly the very best of the best.” ~Denis Jones, two time Tony nominee, Best Choreography "The dancers teaching on PassDoor are among the elite Broadway performers of our time and some of my most favorite dancers in NYC! I’ve repeatedly hired many of them myself to dance on Broadway, network television and many other performances. Their unparalleled talent and experience makes PassDoor absolutely one of a kind." ~Josh Bergasse, Emmy Award winner, Outstanding Choreography Be sure to follow @ONPASSDOOR @MEGANSIKORA and @JAMESTABEEK on Instagram and while you’re at it feel free to follow @Wendy_Rosoff and @WillArmstrongPR. for the latest in West of Broadway news. BroadwayPodcastNetwork.com/podcasts/west-of-broadway is how you can keep up with us and find past and future episodes.  Thanks for joining us, until next time, if you’re looking for us, you can find us Just West of Broadway! Learn more about your ad choices. Visit megaphone.fm/adchoices

We started today's episode with an amazing interview with the lovely Sloan Thompson. She is the director of Revolt. She Said. Revolt Again. and she gave us a sneak peak into this modern play that is opening tomorrow night at the Frederick Wood Theatre. We will also be doing a ticket giveaway for this show so keep an eye out for that! We followed that with another great interview with one of the cast members, Samantha Symington, of Trans Scripts, Part I: The Women. This award-winning work stars seven local transgender powerhouses, and is compiled from interviews with more than 70 transgender women in six different countries. We also had Sophie Mueler's debut as one of our new reporters with a review of The Grunt Gallery. This was a packed show, but I promise it is worth a listen. To end the show we had two reviews of two very different performances. First The Wedding Party, a comedy being put on by the Arts Club, and then Ballet BC's Romeo and Juliet.

This episode features my interview with the legendary Dr. Jerry Blackstone. Jerry is a Grammy award-winning conductor who is well known for his work as a professor of choral music at the University of Michigan. In our discussion, Jerry shares his views on repertoire, inspiring musicians, and the art of music-making.    Topics include: (04:09) Jerry talks about his life, background, and current role as a visiting professor at Wheaton College (12:32) Score study (30:05) Connecting students to the music they perform (34:20) Rehearsal methodology (42:31) Framing verbal instruction (47:28) Jerry’s approach to conducting  (1:11:37) Getting musicians to fall in love with music (1:15:04) Favorite rehearsal tactics (1:16:24) Why do we teach music?  (1:20:15) Todd discusses leaders that have made an impact on his life  (1:24:20) Advice for music educators   Links:  Jerry’s University of Michigan page: https://smtd.umich.edu/about/faculty-profiles/jerry-blackstone/ Jerry conducting Ein deutsches Requiem, op. 45 at UoM: https://www.youtube.com/watch?v=iAGxnqRpiF0 Jerry conducting William Brehm’s “Allulia” and “Jubilee!” at UoM: https://www.youtube.com/watch?v=AWVFUfXRkzE Jerry giving a clinic on compelling musical performances: https://www.youtube.com/watch?v=vw8FtiyRXMo Bio:  Grammy Award winner Jerry Blackstone is a leading conductor and highly respected conducting pedagogue.  Now emeritus professor of conducting, he served on the faculty of the University of Michigan School of Music, Theatre & Dance for thirty years where as director of choirs he led the graduate program in choral conducting and oversaw the University’s eleven choirs.   In February 2006, he received two GRAMMY Awards (“Best Choral Performance” and “Best Classical Album”) as chorusmaster for the critically acclaimed Naxos recording of William Bolcom’s Songs of Innocence and of Experience. The Naxos recording of Milhaud’s monumental L’Orestie d’Eschyle, on which Blackstone served as chorusmaster, was nominated for a 2015 GRAMMY Award (“Best Opera Recording”). Opera Magazine reviewer Tim Ashley wrote: “the real stars, though, are the University of Michigan’s multiple Choirs, who are faced with what must be some of the most taxing choral writing in the entire operatic repertory. Their singing has tremendous authority and beauty, while the shouts and screams of Choéphores are unnerving in the extreme. Their diction is good too: the occasions when we don’t hear the words are Milhaud’s responsibility, rather than theirs. It’s an extraordinary achievement, and utterly mesmerizing.” The University of Michigan Chamber Choir, conducted by Blackstone, performed by special invitation at the inaugural conference in San Antonio of the National Collegiate Choral Organization (NCCO) and presented three enthusiastically received performances in New York City at the National Convention of the American Choral Directors Association (ACDA).  As conductor of the University of Michigan Men’s Glee Club from 1988-2002, Professor Blackstone led the ensemble in performances at ACDA national and division conventions and on extensive concert tours throughout Australia, Eastern and Central Europe, Asia, South America, and the United States. In 2017, NCCO presented him with its prestigious Lifetime Achievement Membership Award and, in 2006, for “significant contributions to choral music,” he received the ACDA-Michigan chapter’s Maynard Klein Lifetime Achievement Award.  From 2003-2015, Dr. Blackstone served as conductor and music director of the University Musical Society (UMS) Choral Union, a large community/university chorus that frequently appears with the Detroit Symphony Orchestra (DSO) and the Ann Arbor Symphony and presents yearly performances of Handel’s Messiah and other major works for chorus and orchestra. Choirs prepared by Blackstone have appeared under the batons of Valery Gergiev, Neeme Järvi, Leonard Slatkin, Hans Graf, Michael Tilson Thomas, John Adams, Helmuth Rilling, James Conlon, Nicholas McGegan, Rafael Frühbeck de Burgos, Peter Oundjian, and Yitzak Perlman. Professor Blackstone is considered one of the country’s leading conducting teachers, and his students have been first place award winners and finalists in both the graduate and undergraduate divisions of ACDA’s biennial National Choral Conducting competition.  His 2016 rehearsal techniques DVD, Did You Hear That? (GIA Publications) deals with the conductor’s decision-making process during rehearsal.  Santa Barbara Music Publishing distributes Blackstone’s acclaimed educational DVD, Working with Male Voices and also publishes the Jerry Blackstone Choral Series. Blackstone is an active guest conductor and workshop presenter and has appeared in forty-two states as well as New Zealand, Australia, Hong Kong, Shanghai, and Sicily. In the summer, he leads the Adult Choir Camp and the Choral Conducting Institute at the Interlochen Center for the Arts. Prior to coming to the University of Michigan in 1988, Dr. Blackstone served on the music faculties of Phillips University in Oklahoma, Westmont College in California, and Huntington University in Indiana.    

This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay! We open the show with conversations with directors, curators, and dancers featured in the 10th Annual San Francisco Dance Film Festival, Nov. 2-4 and Nov. 9-10 at Brava Theatre.  Afia Thompson, dir. MAPENZI Laura Ellis, moderator of a discussion about activism and the arts after the Raising Voices shorts program on Nov 9, 6pm at Brava (the program includes MAPENZI and the other If Cities Could Dance-- Oakland).https://www.sfdancefilmfest.org/festival-films/2019-program/raising-voices/ Kabreshiona Smith, dancer, in If Cities Could Dance: Richmond  2. We speak to Dr. Rachel Carrico, an Assistant Professor of Dance Studies in the School of Theatre + Dance at the University of Florida. Her research explores the aesthetic, political, and social histories of second lining, an improvisational dance form rooted in New Orleans's African diaspora parading traditions. She will give a lecture Friday evening, Nov. 1, on the intersection of New Orleans and Oakland Dance traditions. Program starts at 6:30 p.m. Visit performingarts.mills.edu    

In this episode, we talk using movement to transcend the physical with Andrea Skowronek, former Co-Artistic Director of City in Motion Dance Theater, Inc.   Andrea received her B.F.A. in Dance from Stephens College, in Columbia, Missouri. A native of Seattle, Washington, she received her early dance training from the Cornish Institute. Andrea performed in Paris, France with Free Dance Song (Katherine Dunham technique) under the direction of Christine de Rougemont. She apprenticed with the Susan Warden Dancers in Kansas City, Kansas and has danced with City in Motion Dance Theater, in Kansas City, Missouri since it was founded in 1985. Andrea became an Artistic Co-Director of City in Motion in 1995. Andrea has been an artist-in-residence and faculty member at Kansas State University in the Department of Theatre & Dance. She has been an adjunct faculty member at the University of Missouri-Kansas City Conservatory of Music and Dance and St. Mary College in Leavenworth, Kansas. Her choreography has been featured at the Kansas Dance Festival (Wichita State University), the Dancing in the Street Festival (St. Louis, MO) and at the United World College in Montezuma, New Mexico. Last spring, Andrea was an artist-in-residence at the United World College in Montezuma, New Mexico. Andrea is currently on the faculty of the City in Motion School of Dance and St. Teresa’s Academy in Kansas City, MO. She was a master teacher at the Dance and the Child International Gathering at the University of North Texas in Denton, TX in 2011. Andrea has been a guest faculty member at the Motion 41 Dance Summer Intensive in Omaha, Nebraska since 2012. Andrea has performed with the Susan Warden Dancers, aha ! dance theatre, Missouri Repertory Theatre, Missouri Chamber Orchestra, and the Soni Ventorium Wind Quintet. Andrea is also the Director of the City in Motion Children’s Dance Theater and produces choreography each summer for Musical Theater for Young People. To learn more about City in Motion Dance Theater, visit cityinmotion.org. For more information about Radiate Wellness, our practitioners, services, classes, and events, visit us at radiatewellnesscommunity.com, “Like” us on Facebook as Radiate Wellness, LLC; and follow us on Twitter @RadiateKC.

This month’s guest is Jim Johnson, who is an IDEA associate editor, a professor and director of Undergraduate Studies at the University of Houston School of Theatre & Dance, and founder of AccentHelp. Paul and Jim talk about dialects and accents, dialect-sample gathering, dialects on stage and in film, and accents and dialects in life.

Hello Everyone! Allison is the CEO of Flabs to Fitness a company she founded just before graduating from The University of Texas at Austin. Allison has a BS in Kinesiology, and is personal training certified. She also has nutrition coaching certifications through Precision Nutrtition.     She also has a BA in Theatre & Dance, in addition to acting and performing standup comedy around Austin, her company offers online fitness & nutrition coaching, as well as social media!

Pop Art Painter Jamie Roxx (www.JamieRoxx.us) welcomes Tami Stronach, (Paper Canoe Company; Theatre, Dance,  Arts and Entertainment) to the Show!  www.papercanoecompany.comwww.tamistronach.comwww.facebook.com/papercanoecompany She is half-Scottish (father) and half-Israeli (mother). Her father Professor David Stronach, was a notable expert on Persian antiquities. The family had to flee Persia/Iran during the Revolution. They went to Israel, but ended up in America, where Tami is still based. She was studying acting in California, when she was chosen for her role as the Child-like Empress from the Movie The Neverending Story. She has been a dancer throughout her life, and has opted for this as her main career though she has recently returned to acting. She has been heavily involved in the Neta Dance Troop. She speaks several languages including English and Hebrew.

Berkshire Style is an online magazine that celebrates this richness and vitality of its architects, designers, artists and businesses who have made their mark preserving the Berkshire aesthetic. The pages of Berkshire Style hold a wealth of local information inviting... Read More ›

On Art Things Considered this week we talk about all the arts updates. In Broadway Beat Macey talks about the newest show opening up at The University of Florida School of Theatre + Dance called "Dance 2018." We also look at the, 15th Anniversary reunion concert of Thoroughly Modern Millie, Tony Winner Betty Buckley will Leading Hello, Dolly! National Tour, and the Newsies Seize the Day Challenge. Matt gives us the latest plans for Star Wars in Nerd News.The franchise's is planning for a live action tv series. Matt also tells us about Netflix's plans for it's dark take of Sabrina the Teenage Witch called Salem. We also look at the new worlds revealed in the Kingdo Hearts trailer and how video games are helping scientists in a schizophrenia study. Movie Review is packed to the max. Tyler goes over the weekend box office nubers with the 50 Shaes of Grey sequel sitting in first place. He also reviews "Bright" the netflix movie we were excited about, but maybe not so much anymore. We also look at the Venom trailer and the Incredibles 2 poster that both dropped this week. In Isabella's Thoughts we keep it short and sweet. With the Oylmpics going on, our hosts talk about events they are excited to watch like figure skating. We also look at the opening cereony and how cool the commercials have been. Isabe;;a also talks about what she's most excited for in Black Panther, and how she hopes it'll break barries. This podcast is powered by Pinecast.

“How can the modern individual maintain control over his or her self-representation when the whole world seems to be watching?” This is the question that prompts Julia Fawcett‘s new book, Spectacular Disappearances: Celebrity and Privacy, 1696-1801 (University of Michigan Press, 2016). Drawing on a diverse range of material to analyze some of England's earliest modern celebrities, Fawcett offers a fascinating glimpse into the paradoxes of their eighteenth-century autobiographical performances. More than just the rise of celebrity culture she argues, these performances can help deepen our understanding of the making – and unmaking – of the modern self. Using creative, playful and transgressive techniques, the celebrities in Fawcett's study experimented with presenting themselves as legible to curious publics even as they obscured their identities through ‘overexpressive' acts that helped enable their spectacular disappearance. The result is a tantalizing narrative that continues to fascinate, three centuries later. Julia Fawcett is Assistant Professor in the Theatre Dance and Performance Studies Department at the University of California, Berkeley. Her research interests include Restoration and eighteenth-century theatre and performance, performance historiography, the intersections between literature and performance, autobiographical performance, urban space, celebrity, gender, and disability studies. She received her PhD in English Literature from Yale University, and has published essays in PMLA, The Eighteenth Century: Theory and Interpretation, and Modern Drama. Fawcett is currently working on her next book, Unmapping London: Performance and Urbanization after the Great Fire. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire's Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

“How can the modern individual maintain control over his or her self-representation when the whole world seems to be watching?” This is the question that prompts Julia Fawcett‘s new book, Spectacular Disappearances: Celebrity and Privacy, 1696-1801 (University of Michigan Press, 2016). Drawing on a diverse range of material to analyze some of England’s earliest modern celebrities, Fawcett offers a fascinating glimpse into the paradoxes of their eighteenth-century autobiographical performances. More than just the rise of celebrity culture she argues, these performances can help deepen our understanding of the making – and unmaking – of the modern self. Using creative, playful and transgressive techniques, the celebrities in Fawcett’s study experimented with presenting themselves as legible to curious publics even as they obscured their identities through ‘overexpressive’ acts that helped enable their spectacular disappearance. The result is a tantalizing narrative that continues to fascinate, three centuries later. Julia Fawcett is Assistant Professor in the Theatre Dance and Performance Studies Department at the University of California, Berkeley. Her research interests include Restoration and eighteenth-century theatre and performance, performance historiography, the intersections between literature and performance, autobiographical performance, urban space, celebrity, gender, and disability studies. She received her PhD in English Literature from Yale University, and has published essays in PMLA, The Eighteenth Century: Theory and Interpretation, and Modern Drama. Fawcett is currently working on her next book, Unmapping London: Performance and Urbanization after the Great Fire. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

“How can the modern individual maintain control over his or her self-representation when the whole world seems to be watching?” This is the question that prompts Julia Fawcett‘s new book, Spectacular Disappearances: Celebrity and Privacy, 1696-1801 (University of Michigan Press, 2016). Drawing on a diverse range of material to analyze some of England’s earliest modern celebrities, Fawcett offers a fascinating glimpse into the paradoxes of their eighteenth-century autobiographical performances. More than just the rise of celebrity culture she argues, these performances can help deepen our understanding of the making – and unmaking – of the modern self. Using creative, playful and transgressive techniques, the celebrities in Fawcett’s study experimented with presenting themselves as legible to curious publics even as they obscured their identities through ‘overexpressive’ acts that helped enable their spectacular disappearance. The result is a tantalizing narrative that continues to fascinate, three centuries later. Julia Fawcett is Assistant Professor in the Theatre Dance and Performance Studies Department at the University of California, Berkeley. Her research interests include Restoration and eighteenth-century theatre and performance, performance historiography, the intersections between literature and performance, autobiographical performance, urban space, celebrity, gender, and disability studies. She received her PhD in English Literature from Yale University, and has published essays in PMLA, The Eighteenth Century: Theory and Interpretation, and Modern Drama. Fawcett is currently working on her next book, Unmapping London: Performance and Urbanization after the Great Fire. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

“How can the modern individual maintain control over his or her self-representation when the whole world seems to be watching?” This is the question that prompts Julia Fawcett‘s new book, Spectacular Disappearances: Celebrity and Privacy, 1696-1801 (University of Michigan Press, 2016). Drawing on a diverse range of material to analyze some of England’s earliest modern celebrities, Fawcett offers a fascinating glimpse into the paradoxes of their eighteenth-century autobiographical performances. More than just the rise of celebrity culture she argues, these performances can help deepen our understanding of the making – and unmaking – of the modern self. Using creative, playful and transgressive techniques, the celebrities in Fawcett’s study experimented with presenting themselves as legible to curious publics even as they obscured their identities through ‘overexpressive’ acts that helped enable their spectacular disappearance. The result is a tantalizing narrative that continues to fascinate, three centuries later. Julia Fawcett is Assistant Professor in the Theatre Dance and Performance Studies Department at the University of California, Berkeley. Her research interests include Restoration and eighteenth-century theatre and performance, performance historiography, the intersections between literature and performance, autobiographical performance, urban space, celebrity, gender, and disability studies. She received her PhD in English Literature from Yale University, and has published essays in PMLA, The Eighteenth Century: Theory and Interpretation, and Modern Drama. Fawcett is currently working on her next book, Unmapping London: Performance and Urbanization after the Great Fire. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

“How can the modern individual maintain control over his or her self-representation when the whole world seems to be watching?” This is the question that prompts Julia Fawcett‘s new book, Spectacular Disappearances: Celebrity and Privacy, 1696-1801 (University of Michigan Press, 2016). Drawing on a diverse range of material to analyze some of England’s earliest modern celebrities, Fawcett offers a fascinating glimpse into the paradoxes of their eighteenth-century autobiographical performances. More than just the rise of celebrity culture she argues, these performances can help deepen our understanding of the making – and unmaking – of the modern self. Using creative, playful and transgressive techniques, the celebrities in Fawcett’s study experimented with presenting themselves as legible to curious publics even as they obscured their identities through ‘overexpressive’ acts that helped enable their spectacular disappearance. The result is a tantalizing narrative that continues to fascinate, three centuries later. Julia Fawcett is Assistant Professor in the Theatre Dance and Performance Studies Department at the University of California, Berkeley. Her research interests include Restoration and eighteenth-century theatre and performance, performance historiography, the intersections between literature and performance, autobiographical performance, urban space, celebrity, gender, and disability studies. She received her PhD in English Literature from Yale University, and has published essays in PMLA, The Eighteenth Century: Theory and Interpretation, and Modern Drama. Fawcett is currently working on her next book, Unmapping London: Performance and Urbanization after the Great Fire. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

“How can the modern individual maintain control over his or her self-representation when the whole world seems to be watching?” This is the question that prompts Julia Fawcett‘s new book, Spectacular Disappearances: Celebrity and Privacy, 1696-1801 (University of Michigan Press, 2016). Drawing on a diverse range of material to analyze some of England’s earliest modern celebrities, Fawcett offers a fascinating glimpse into the paradoxes of their eighteenth-century autobiographical performances. More than just the rise of celebrity culture she argues, these performances can help deepen our understanding of the making – and unmaking – of the modern self. Using creative, playful and transgressive techniques, the celebrities in Fawcett’s study experimented with presenting themselves as legible to curious publics even as they obscured their identities through ‘overexpressive’ acts that helped enable their spectacular disappearance. The result is a tantalizing narrative that continues to fascinate, three centuries later. Julia Fawcett is Assistant Professor in the Theatre Dance and Performance Studies Department at the University of California, Berkeley. Her research interests include Restoration and eighteenth-century theatre and performance, performance historiography, the intersections between literature and performance, autobiographical performance, urban space, celebrity, gender, and disability studies. She received her PhD in English Literature from Yale University, and has published essays in PMLA, The Eighteenth Century: Theory and Interpretation, and Modern Drama. Fawcett is currently working on her next book, Unmapping London: Performance and Urbanization after the Great Fire. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

“How can the modern individual maintain control over his or her self-representation when the whole world seems to be watching?” This is the question that prompts Julia Fawcett‘s new book, Spectacular Disappearances: Celebrity and Privacy, 1696-1801 (University of Michigan Press, 2016). Drawing on a diverse range of material to analyze some of England’s earliest modern celebrities, Fawcett offers a fascinating glimpse into the paradoxes of their eighteenth-century autobiographical performances. More than just the rise of celebrity culture she argues, these performances can help deepen our understanding of the making – and unmaking – of the modern self. Using creative, playful and transgressive techniques, the celebrities in Fawcett’s study experimented with presenting themselves as legible to curious publics even as they obscured their identities through ‘overexpressive’ acts that helped enable their spectacular disappearance. The result is a tantalizing narrative that continues to fascinate, three centuries later. Julia Fawcett is Assistant Professor in the Theatre Dance and Performance Studies Department at the University of California, Berkeley. Her research interests include Restoration and eighteenth-century theatre and performance, performance historiography, the intersections between literature and performance, autobiographical performance, urban space, celebrity, gender, and disability studies. She received her PhD in English Literature from Yale University, and has published essays in PMLA, The Eighteenth Century: Theory and Interpretation, and Modern Drama. Fawcett is currently working on her next book, Unmapping London: Performance and Urbanization after the Great Fire. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

We talked to Aoi Nakamura, artistic director of Whist, an interactive dance that explores the work of Sigmud Freud by merging physical theatre, art installations and VR. She talks about choreographing for the interactive, creating different scenarios, and centring the experience on the viewer.   Whist will be on tour from June 23rd: https://www.facebook.com/events/130324617516735/ Watch the trailer: https://www.youtube.com/watch?v=px3aZzTxHfg   Interview by @natygoico https://twitter.com/natygoico AΦE Website: http://www.aoiesteban.com/ @aoiesteban on Twitter https://twitter.com/aoiesteban/ Facebook https://www.facebook.com/aoiesteban/

That’s not a violin – it’s a woodbox! Daniel Bernard Roumain talks about creative appropriation in classical music. The Haitian-American composer’s creative world was cracked open when he realized that everything – including the definition of “violin” – was ripe for reinterpretation. As a kid in garage bands, he took the decidedly uncool violin and made it his own. As a classically trained musician, he brings classical music together with hip hop, rock, bluegrass, and other genres to create his signature sound. We talk about DBR’s creative journey and about how innovators like John Cage have changed classical music by adding an important ingredient to the genre: imagination. Audio production by Todd “T-Dawg” Hulslander with super disco breaking by Dacia Clay. Music in this episode: Lots of woodbox improvisation by Daniel Bernard Roumain “Sonata No. 2” from Sonatas and Interludes for Prepared Piano by John Cage, played by Boris Berman “Sonata for Violin and Turntables, Part 1” from Woodbox Beats & Balladryby Daniel Bernard Roumain To see DBR perform in our studios on Skyline Sessions, go here. Daniel Roumain is an artist in residence with the Cynthia Woods Mitchell Center for the Arts, which is dedicated to interdisciplinary collaboration across the performing, visual, and literary arts. Based at the University of Houston, the Mitchell Center commissions and produces new works, presents public performances and exhibitions, offers curriculum and scholarships, and hosts residencies with renowned visiting artists from throughout the world. The Center is home to the Mitchell Artist Lecture, an annual event featuring a pioneer in contemporary art-making, as well as CounterCurrent, an annual spring festival of new performance. The Mitchell Center forms an alliance among five departments at UH: the School of Art, Moores School of Music, School of Theatre & Dance, Creative Writing Program, and Blaffer Art Museum. For more information visit www.mitchellcenterforarts.org.

Today – that is April 18th 2016 – much of our fair city of Houston is underwater. There was a big scary flood, the power’s out, the roads are lakes, and we, the Classical Classroom team, literally can’t get to the station to access the files we need to post our new episode. We tried to cobble together an ark, but it turns out that’s a whole thing. However! Through sheer grit, determination and the power of the human spirit to use computers, we have unearthed this episode with Todd Reynolds, which we think – nay! – we know you will enjoy. Also, on a serious note, our city is in bad shape and a lot of folks are going to need some help after the floodwaters subside. If you can help, visit the Texas Red Cross Gulf Coast Region website and make a donation. That’s also a good place to go if you are in need of help.   What do we mean when we say “classical music”? Sure, sure: it refers to a period of music, like “Baroque” or “Romantic”. But we largely use the word as a sort of generic brand-name for a specific variety of sound. In this episode of Classical Classroom, genre-ignoring violinist Todd Reynolds attempts to define classical music. Does he succeed? Does he give up and just start talking about Prince instead? Maybe and maybe! Listen to this episode to find out. Audio production by Todd “Timbalander” Hulslander with at least 3 really good suggestions from Dacia Clay. Music in this episode: Third Construction by John Cage Composition for Four Instruments by Milton Babbitt “Pulses” from Music for 18 Musicians by Steve Reich Symphony No. 41 (the “Jupiter Symphony”), Molto Allegro by Wolfgang Amadeus Mozart “Happy” from G I R L by Pharrell Williams “Let’s Go Crazy” from Purple Rain by Prince and the Revolution “Crossroads” and “Taskforce: Farmlab” from Outerborough by Todd Reynolds Fantasia in G Major, BWV 571 by Johann Sebastian Bach Todd Reynolds was a special guest of the Cynthia Woods Mitchell Center for the Arts. ABOUT THE MITCHELL CENTER The Cynthia Woods Mitchell Center for the Arts is dedicated to interdisciplinary collaboration across the performing, visual, and literary arts. Based at the University of Houston, the Mitchell Center commissions and produces new works, presents public performances and exhibitions, offers curriculum and scholarships, and hosts residencies with renowned visiting artists from throughout the world. The Center is home to the Mitchell Artist Lecture, an annual event featuring a pioneer in contemporary art-making, as well as CounterCurrent, an annual spring festival of new performance. The Mitchell Center forms an alliance among five departments at UH: the School of Art, Moores School of Music, School of Theatre & Dance, Creative Writing Program, and Blaffer Art Museum. For more information visit www.mitchellcenterforarts.org. For more about Todd Reynolds check out his blog: www.toddreynolds.wordpress.com

What do we mean when we say “classical music”? Sure, sure: it refers to a period of music, like “Baroque” or “Romantic”. But we largely use the word as a sort of generic brand-name for a specific variety of sound. In this episode of Classical Classroom, genre-ignoring violinist Todd Reynolds attempts to define classical music. Does he succeed? Does he give up and just start talking about Prince instead? Maybe and maybe! Listen to this episode to find out. Audio production by Todd “Timbalander” Hulslander with at least 3 really good suggestions from Dacia Clay. Music in this episode: – Third Construction by John Cage – Composition for Four Instruments by Milton Babbitt – “Pulses” from Music for 18 Musicians by Steve Reich – Symphony No. 41 (the “Jupiter Symphony”), Molto Allegro by Wolfgang Amadeus Mozart – “Happy” from G I R L by Pharrell Williams – “Let’s Go Crazy” from Purple Rain by Prince and the Revolution – “Crossroads” and “Taskforce: Farmlab” from Outerborough by Todd Reynolds – Fantasia in G Major, BWV 571 by Johann Sebastian Bach Todd Reynolds was a special guest of the Cynthia Woods Mitchell Center for the Arts. ABOUT THE MITCHELL CENTER The Cynthia Woods Mitchell Center for the Arts is dedicated to interdisciplinary collaboration across the performing, visual, and literary arts. Based at the University of Houston, the Mitchell Center commissions and produces new works, presents public performances and exhibitions, offers curriculum and scholarships, and hosts residencies with renowned visiting artists from throughout the world. The Center is home to the Mitchell Artist Lecture, an annual event featuring a pioneer in contemporary art-making, as well as CounterCurrent, an annual spring festival of new performance. The Mitchell Center forms an alliance among five departments at UH: the School of Art, Moores School of Music, School of Theatre & Dance, Creative Writing Program, and Blaffer Art Museum. For more information visit www.mitchellcenterforarts.org. For more about Todd Reynolds check out his blog: www.toddreynolds.wordpress.com

    That’s not a violin – it’s a woodbox! Daniel Bernard Roumain talks about creative appropriation in classical music. The Haitian-American composer’s creative world was cracked open when he realized that everything – including the definition of “violin” – was ripe for reinterpretation. As a kid in garage bands, he took the decidedly uncool violin and made it his own. As a classically trained musician, he brings classical music together with hip hop, rock, bluegrass, and other genres to create his signature sound. We talk about DBR’s creative journey and about how innovators like John Cage have changed classical music by adding an important ingredient to the genre: imagination. Audio production by Todd “T-Dawg” Hulslander with super disco breaking by Dacia Clay. Music in this episode: Lots of woodbox improvisation by Daniel Bernard Roumain “Sonata No. 2” from Sonatas and Interludes for Prepared Pianoby John Cage, played by Boris Berman “Sonata for Violin and Turntables, Part 1” from Woodbox Beats & Balladry by Daniel Bernard Roumain To see DBR perform in our studios on Skyline Sessions, go here. Daniel Roumain is an artist in residence with the Cynthia Woods Mitchell Center for the Arts, which is dedicated to interdisciplinary collaboration across the performing, visual, and literary arts. Based at the University of Houston, the Mitchell Center commissions and produces new works, presents public performances and exhibitions, offers curriculum and scholarships, and hosts residencies with renowned visiting artists from throughout the world. The Center is home to the Mitchell Artist Lecture, an annual event featuring a pioneer in contemporary art-making, as well as CounterCurrent, an annual spring festival of new performance. The Mitchell Center forms an alliance among five departments at UH: the School of Art, Moores School of Music, School of Theatre & Dance, Creative Writing Program, and Blaffer Art Museum. For more information visit www.mitchellcenterforarts.org.

JBN sits down with Justin Boccitto (justinboccitto.net), a producer, choreographer, director, educator, and performer. He currently serves as Executive Producer of The Group Theatre Too in Manhattan (grouptheatretoo.org). Since The Group’s creation in 2003, he has overseen and produced MAC Award-Winning cabaret artist, Alisa Schiff in Mama Said…The Songs of Cass Elliot as well as New York tap company, Generation Tap, who has performed in Tap City, Circle in the Square and the United Nations. As a director, he led the national tour of Dance/Speak: The Life of Agnes de Mille starring Patricia Conolly. He currently directs & choreographs for Circle in the Square Theatre School with credits including Lippa's Wild Party, Urinetown,The Best Little Whorehouse in Texas and Tenderloin. As a performer he went on to appear with The Metropolitan Opera, the Willow Cabin Theatre Company and the New York Theatre Ballet. Here currently teaches Tap and Theatre Dance at Broadway Dance Center in Manhattan. Song Premiere: "Overly Oofy" from Joel B. New's MACKENZIE & THE MISSING BOY. Accompanied by Gillian Berkowitz. Recorded live at TruVoice Studios NYC on Sunday, 11/24/13.

Trena Bolden Fields interviews the talented Barbara Kingsley on her passion for acting.   Barbara Kingsley is a multi-tasking theater artist. Stage credits include over two hundred productions, at theaters across the country, including Broadway. She has appeared locally at the Guthrie, Ten Thousand Things Theater, Jungle Theater and Park Square Theatre. Barbara won a Kudos award for her performance as Dorine, in Tartuffe and has enjoyed creating a broad spectrum of characters: Hedda Gabler, Bananas, in House of Blue Leaves, Ariel in The Tempest, Alice B. Toklas in Gertrude Stein and a Companion, and most recently, Violet in  August: Osage County. She has been a member of the Dept. of Theatre & Dance adjunct faculty at the University of Minnesota, since 1998 and is a Teaching Artist in the Guthrie Theater Education dept. Writing credits include a screenplay and three stage plays. Barbara is a recipient of a 2011 – 2012 Minnesota State Arts Board/ National Endowment  for the Arts Artist Initiative Grant for her play, Under This Roof and the 2013 MRAC Next Step Grant for her play, I am Proof Of Me.

Winner for Best Documentary: This documentary examines one man’s selfless street-corner life.

Winner for Best Cinematography" This video features lyrical scenes of early morning river sculling.

Honorable Mention: A Vietnamese American travels to Southeast Asia to examine his roots and clarify his identity.

Winner for Best Original Score (Matt Cellitti); winner for Best Editing (Kelby Wood: A day in the life of a latch-key child.

Winner for Best in Show, Best Sound, Best Animation, Audience Choice May 26: This haunting stop-motion animation reveals much about the human condition in love, need, greed and murder.

Winner for Best Experimental: Hereis a delirious musical exploration of sexual identity.

Winner for Best Sound, Best Animation, Audience Choice May 25: This video features the clay animation adventures of a worm.

Winner for Best Original Score (Kevin MacLeod); winner for Best Director (Kyle Dickerson): This is a suspenseful nightmare thriller set among the stacks at UC Davis Shields Library.

Winner for Community Media: Food coop customers and providers speak about their successful community effort.