“An imaginative and brave show performed with fearless vulnerability by the warm, wild and untamed Sara Juli.” ~Broadway Baby~
For more information/tickets click the box above!
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I flew to Asheville to visit a few good friends and to interview Kevin Venardos. He is the founder of Venardos Circus and the ringmaster on every show. He talks about all the things that go into making a one-ring circus possible. Great show!
“Part traditional circus, part classic vaudeville and part Cirque du Soleil - you have to experience this circus!”
John M., Lexington KY
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Jeff and Buttons Entertain an Audience
September 13 – 17, 2018
~ 43 Minutes ~
Jeff and Buttons (2 very funny jokesters) will entertain their audience by performing their new show entitled “Jeff and Buttons Entertain An Audience.” Their show consists of lots of new but also some old material which will be performed for an audience with the express purpose of entertaining said audience. It should be an entertaining night of performing!
“Jeff and Buttons had me laughing so hard that I was literally wheezing.” – The Happiest Medium
“Their material is so stupid it becomes profound and refreshing” – MaskedArts.com
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TRIBUTE TO CARLO MAZZONE-CLEMENTI
From Wikipedia: Carlo Mazzone-Clementi (12 December 1920 – 5 November 2000) was a performer and founder of two schools of Commedia, mime and physical theater as well as a contemporary and colleague of leaders of the modern European theater. From his arrival in the USA in 1957, he was largely responsible for the spreading of commedia dell’arte in North America. He first gained attention in Italy in 1947 alongside Marcel Marceau in the mime’s first tour outside of Paris. From 1948 to 1951, he assisted Jacques Lecoq, while Lecoq taught and directed the Players of Padua University. In 1954, Mazzone-Clementi was at Piccolo Teatro di Milano with Dario Fo and Franca Rame. Click here for more information from their post about Carlo.
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I have to admit I don’t remember when I met Carlo but it was before 1983. That was the year I convinced him to visit my studio to do some photographs. He was playful and not too prepared. He came with a couple of great Commedia masks and found objects in the studio to improvise with for the camera. It was great fun! I have decided to make this tribute since many movement-based performers don’t know about Carlo. I contacted a few friends that knew him well ask them to contribute to this post. They knew him better and have stories to tell!
Here is an interview with his friend Hovey Burgess
Originally posted at:
Karen Jenson interviews playwright Brendon Cole and director Michael Di Jiacomo of “Imperfect Love” at The Connelly Theater. Closes Sunday 2/18/18.
IMPERFECT LOVE is a story of love and betrayal, set just over 100 years ago, between the actress Eleonora Della Rosa, and her playwright lover Gabriele Torrisi. (Inspired by the real-life relationship between the great Eleanora Duse and the poet D’Annunzio). It’s a story set at the turning of an epoch, and the turning of two styles of theater: the more visceral and emotional style that Eleonora and Torrisi are exemplars of, and the ‘new’ psychological style epitomized by Nordic writers like Ibsen and Strindberg. Our characters Eleonora and Torrisi are both vulnerable and aware that their day may have passed, and along with it, their love. Should Torrisi abandon Eleonora and strike out for a collaboration with her arch-rival, the Parisian Sarah Bernhardt? Should Eleonora withdraw her support (and love?) from the possibly outmoded Torrisi and try to work with up-and-coming Ibsen? In the middle of all this is the classically trained leading-man Domenica, who doesn’t know which way to turn in his professional life, or in the tangled world of his emotional allegiances. One other delight of the play is how the traditional clowns Beppo and Marco not only comment on the action in a comical and human way, but how they themselves also embody the conflicting epochs – the rambunctious farce of the Commedia dell’Arte, set against a premonition, a whiff of the bold futurism of a Beckett or a Pirandello, a modernism that will eventually make all earlier styles redundant. In the end, matters of theater and matters of the heart come together in a climax both affirming and bitter-sweet. The play’s the thing. At least, until the curtain falls.
Go here for more information.
The New York Theatre Workshop was packed ‘wall-to-wall’ with boxes and other storage unit items. I had read about “The Object Lesson” when Geoff Sobelle had performed it at BAM a few years ago, and the reviewer’s description of it resonated with me until today.
The interview was originally posted on: