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Chromeo on their latest release: “The mission statement for this album, for us, was to pen this overarching love letter to funk music.”
Dressed to kill, eschewing Business Casual, these electro-funksters slip on glitter stilettos on Head Over Heels (Big Beat, 2018). At the Rialto Theatre. With self-confessed synth-freak Touch Sensitive. Details here.
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Winding Road Theater Ensemble aims to produce plays that are entertaining but outside of the box, and always speak to the human condition. The way co-artistic director of Winding Road Maria Caprile says “the human condition”, it sounds like an illness. Not one we need to get over, but one that we all share, and one that we can manage better by experiencing it together. This season at Winding Road explores life’s harder decisions, funny moments, challenges, morals, coping with loss, family dinners and simply surviving.
If she had to choose one show that audiences not miss, it isn’t the trip to the chapel or the family dinner the actors aren’t excused from (not to say those aren’t well worth seeing, obviously); rather, the one she felt we all need to see is a staged reading of The Women of Lockerbie as part of the Winding Read series. Shown in the style of a Greek tragedy, this play revisits the explosion of PanAm 103 over Lockerbie in 1988.
“That was so long ago and so much has happened, is this going to resonate?” Caprile said, wondering if it would be a good fit for modern audiences. “But it isn’t about the incident. It is about grief. And how this keeps happening. And how we deal with it. You can’t just ignore it. It isn’t about PanAm 103, it’s about public grief.”
In this day and age, and maybe in every age, grief is one part of the human condition that we need each other more than any other to understand, process, and, with time, overcome.
Read more about this season and Winding Road Theater Ensemble at TamingoftheReview.com.
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“Everyone has a story, and if you’re open to listening, you’re going to find a connection,” Susan Claassen, managing artistic director at Invisible Theatre, told me in a recent conversation. “Now people are so isolated that the mere nature of coming to live theatre is empowering.” She takes the almost magical, invisible connection between actors and audience as a universal truth — and as the namesake of the theatre.
Forty-nine seasons in, the play selection still resonates with what got them started in the first place: love, passion, and necessity. What that means varies from play to play, as they take a broad look at the concept of love. From love of humor to familial love to Becoming Dr. Ruth, “Which is certainly one way of looking at love,” Claassen remarked with a chuckle.
As an actor (she’ll be playing Dr. Ruth) she knows actors and directors take risks, and that audiences trust them to produce work that is entertaining and thought provoking. “No one does theatre for money,” she observed, “so if the experience isn’t amazing, we aren’t doing our jobs.”
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