Has anyone out there ever read anything by author JUDY GOLDMAN?
Just stumbled upon her website today: www.judygoldman.com
This quote makes her interesting:
You were born in South Carolina and now live in Charlotte, North Carolina. Do you consider yourself to be a Southern writer? How do you see yourself within the tradition of Southern writing?
If it means I’m keeping company with Eudora Welty and Flannery O’Connor, yes, I’m a Southern writer! That’s like being born into a family that’s absolutely stellar and even though you had nothing to do with the facts of your birth, you use that connection for all it’s worth.
Because I have great affection — and nostalgia — for my hometown, I will always have at least one character in every novel either be from or live in Rock Hill. It’s my way of paying tribute to that town in South Carolina where I was born and raised. I love being Southern. I never want to lose my soft vowels. But I don’t want the fact that I’ve lived here all my life (except for two years after college in NYC) to limit me.
Plus, I’m not sure there’s even such a thing as a Southern writer. Isn’t it true that regardless of whether we call the Carolinas or the Dakotas home, we’re all just writing about what Faulkner called the "human heart in conflict with itself"?
Tuesday, August 18, 2009
Monday, November 17, 2008
Traces: Sunday, November 16th, 2pm at McGlohon Theater
Industrial. Real.
Worn-down. Uplifting.
Edgy. Innovative.
Thoughtful. Thought-provoking.
Humorous. Transporting.
Jaw-Dropping. Exuberant.
Several early hints that this would be no ordinary performance: Large b&w screen showing live video feed was projected onto a wrinkled grey muslin on the open stage. As one took their seat and got comfortable you noticed a live timer ticking away the microseconds on the bottom edge of the video feed and immediately recognized that it was footage from the lobby of the theater you'd just entered. It was artfully set up on a three minute delay to allow you enough time to find your seat and get settled in before you saw YOURSELF on the screen and watched you make your way (unknowingly?) into the theater. Apparently my children had seen the camera as we entered and waved at themselves on the monitor so the thrill of seeing themselves on the BIG stage stretched screen inside was less impressive to them. . . but only slightly.
The second clue was the unusual stage announcements made just after the lights were dimmed that encouraged you to "Please keep your cell phones on. You never know who might be trying to call you." and also to "Please use flash photography with no regard for the safety of our performers. Their health is not nearly as important as your photo memories!"
Hilarious. The audience got a good guffaw out of each of the uncustomary announcements (about six in all.)
Five characters. Four males and one female. All incredibly talented and physically gifted and all (surprisingly?) attractive as well. We get to know them. Their loves and their losses. Their sense of humor always just under the surface (my daughters loved the "tickle monster" game led by Raphael and I especially enjoyed the broad smiles and winks to the audience during the skateboard Frank Sinatra number.)
Yes. I did say Skateboard and Frank Sinatra in the same sentence. Perhaps that was part of what made TRACES so jaw-dropping. The unexpected juxtaposition of things. The cast has nailed old wood all over a grand piano. It looked like it had been retrieved from underwater after six months time - the boards were so warped and decayed. Yet the music it provided was incredibly clear and clean. Every performer shared a bit of their talent (and personality) by playing some bars of their musical tastes (classical from Heloise and blues from Brad, rock and roll from Francisco and jazz from Raphael. Hilarious that Will could only play chopsticks!)
The assortment of acrobatic feats was varied as well. Some see-saw Chinese acrobatics stunts that launched performers high into the air. Some one-on-one hand-to-hand gymnastics woven in with classically modern dance. Yes, classically modern for yet another juxtaposition. Two poles that they would swing from, climb, and slide down for amazing feats of strength and dexterity.
One of my favorite moments was from Heloise who was engrossed in reading a "toe-wiggling" novel all the while performing acrobatics in tandem with an old upholstered armchair. I never knew so many contortions could be based upon such common household furniture!
My children (ages 5 and 7) were well entertained for the entire 90 minutes. My husband and I both gave it above average marks for content and production value. Think of it as a "working man's Cirque" -- but in a good way. If the glossy "over the top" costumes of Cirque are too much for you - and the "in your face" musical accompanient and vocals -- then TRACES, with it's edgy and industrial feel will still deliver the same gasps of astonishment in a more "in the streets" environment. And we give it extra points for the use of humor throughout.
FIVE STARS being the highest:
Production Value: 3.5 stars
Talent of the Performers: 4.5 stars
Entertainment Value: 4.0 stars
BUY TICKETS HERE: http://www.blumenthalcenter.org/default.asp?id=59&objId=557
Worn-down. Uplifting.
Edgy. Innovative.
Thoughtful. Thought-provoking.
Humorous. Transporting.
Jaw-Dropping. Exuberant.
Several early hints that this would be no ordinary performance: Large b&w screen showing live video feed was projected onto a wrinkled grey muslin on the open stage. As one took their seat and got comfortable you noticed a live timer ticking away the microseconds on the bottom edge of the video feed and immediately recognized that it was footage from the lobby of the theater you'd just entered. It was artfully set up on a three minute delay to allow you enough time to find your seat and get settled in before you saw YOURSELF on the screen and watched you make your way (unknowingly?) into the theater. Apparently my children had seen the camera as we entered and waved at themselves on the monitor so the thrill of seeing themselves on the BIG stage stretched screen inside was less impressive to them. . . but only slightly.
The second clue was the unusual stage announcements made just after the lights were dimmed that encouraged you to "Please keep your cell phones on. You never know who might be trying to call you." and also to "Please use flash photography with no regard for the safety of our performers. Their health is not nearly as important as your photo memories!"
Hilarious. The audience got a good guffaw out of each of the uncustomary announcements (about six in all.)
Five characters. Four males and one female. All incredibly talented and physically gifted and all (surprisingly?) attractive as well. We get to know them. Their loves and their losses. Their sense of humor always just under the surface (my daughters loved the "tickle monster" game led by Raphael and I especially enjoyed the broad smiles and winks to the audience during the skateboard Frank Sinatra number.)
Yes. I did say Skateboard and Frank Sinatra in the same sentence. Perhaps that was part of what made TRACES so jaw-dropping. The unexpected juxtaposition of things. The cast has nailed old wood all over a grand piano. It looked like it had been retrieved from underwater after six months time - the boards were so warped and decayed. Yet the music it provided was incredibly clear and clean. Every performer shared a bit of their talent (and personality) by playing some bars of their musical tastes (classical from Heloise and blues from Brad, rock and roll from Francisco and jazz from Raphael. Hilarious that Will could only play chopsticks!)
The assortment of acrobatic feats was varied as well. Some see-saw Chinese acrobatics stunts that launched performers high into the air. Some one-on-one hand-to-hand gymnastics woven in with classically modern dance. Yes, classically modern for yet another juxtaposition. Two poles that they would swing from, climb, and slide down for amazing feats of strength and dexterity.
One of my favorite moments was from Heloise who was engrossed in reading a "toe-wiggling" novel all the while performing acrobatics in tandem with an old upholstered armchair. I never knew so many contortions could be based upon such common household furniture!
My children (ages 5 and 7) were well entertained for the entire 90 minutes. My husband and I both gave it above average marks for content and production value. Think of it as a "working man's Cirque" -- but in a good way. If the glossy "over the top" costumes of Cirque are too much for you - and the "in your face" musical accompanient and vocals -- then TRACES, with it's edgy and industrial feel will still deliver the same gasps of astonishment in a more "in the streets" environment. And we give it extra points for the use of humor throughout.
FIVE STARS being the highest:
Production Value: 3.5 stars
Talent of the Performers: 4.5 stars
Entertainment Value: 4.0 stars
BUY TICKETS HERE: http://www.blumenthalcenter.org/default.asp?id=59&objId=557
Subscribe to:
Posts (Atom)
Posts
