Tree of Light

Posted on by Thor

On June 14th, the Virginia Drive Live Street Party was held all along Virginia Drive in Ivanhoe Village. Scottie Campbell, the Ivanhoe Village-Manager war running from street side tent to tent. I saw him when I first got out of my car and then several more times as I walked down Virginia Drive. Vendors and artists were busy setting up.

    Virginia Drive, between Alden Road. and Haven Drive, in Ivanhoe Village came alive with late night shopping, food trucks, street vendors and artists, entertainment, and more! A wine stroll guided people you from merchant to merchant. I stopped at the beer garden, Sponsored by TheDailyCity.com, in the lot next to The Venue. Mark Baratelli of TheDailyCity.com stopped to say hello. There had been some drama among the food truck vendors he invited to the event and he had to straighten it all out.

As the sun set, the Tree of Light illuminated the area where DJ Chris Mendez was spinning tunes. Parents relaxed, sipping beers while their children played in the grass. The Tree of light has a welded aluminum structure inside with wood boards from shipping palettes screwed to the outside. I saw the structure as it was first being built in Cole Nesmith‘s yard. An exotic computer program used to make the lights flicker in a sequence when they were turned on with pull chords. Small diode light strips in the mason’s jars looked like fire flies. The heavy Florida rains had some of the jars collecting water. The draw strings were no longer an option. All the lights were always on. The tree was going to be set up in downtown Orlando but after working all night to gel it set up, someone leaned a ladder against a branch and the branch crashed to the ground. No one was hurt, but now the sculpture was seen as a dangerous liability. Cole and his team of artists and engineers went back to the drawing board reinforcing all the inner supports.

Children couldn’t resist trying to climb the tree. A group of three or four toddlers gathered at the base and used the roots as a boost to try and get up the trunk. Thankfully, parents moved in and pulled the children off. Had the kids gotten up to the branches, the results could have been devastating. Worst would be if an adult who has had too many beers decided to climb the tree on a dare. As a teenager, I once drank so much that I decided I had to climb to the top of a telephone pole. I was alone, so I wasn’t trying to impress anyone. I did it cause I was drunk and therefor indestructible. Sometimes I’m an idiot.

La Mia Danza

Posted on by Thor

After sketching a rehearsal at The Venue, I decided to stay and sketch La Mia Danza. This improvisational dance performance featured Michelina Wingerter along with live music by Tacatantán Record’s Abdias Ernesto Garcia. Various lamps were set up on stage. Michelina wished she had a lounge chair so the set would feel like the comfy intimate room she improve dances in at home. Helen, the tech said there was a lounge chair up in the tech booth. The trouble was the only way up there was via a wooden ladder. Several techs and dancers gathered around the ladder. The chair was huge. As several people lowered it from above, the people below reached up. I got up and went over just in case it toppled and more hands were needed.

With the chair onstage, Michelina immediately did a headstand on it. She walked on it’s arms and found creative ways to slither out of it. She loved the chair because it was so stable. She could do anything on it and it wouldn’t topple over. There was a full house for the performance. Abdias began playing his mix of music. Michelina’s performance began as she sat still in the chair. Her movement gained momentum as she danced on stage. She turned lights on or off as needed.

At times she jumped off the stage moving into the audience. She even sat in the front row for a moment to catch her breath. She moved with wild abandon. Movements became more angular and angry. She began to shout as she danced. She looked at me and shouted, “You want to draw me? Why?!”  She eventually removed her top with a flourish and black pasties covered her nipples. It was hard not to watch those twin black holes as they moved on the universe of the stage. She later put on a loose flannel shirt that flowed around her petite frame as she danced. She danced on the razor’s edge shouting in anger and rage. The loud brash performance expressed existential doubts while hinting that the Phoenix could still rise from the ashes.

At the end, Michelina sat center stage completely spent and in tears. The whole audience stood and the applause was thunderous. Michelina bowed with tears still falling. Abdias joined her on stage and they both raised their hands to the tech’s upstairs. Blue Star addressed the audience, inviting them to get their party on after that one of a kind performance.

Hammers and Lambs

Posted on by Thor

On June 12, I went to The Venue, (511 Virginia Drive Orlando, FL) to watch the set up for an improvisational dance performance by called “La Mia Danza“. This was going to be a one time collaboration of improvised Dance and Music starring the captivating
dancer Michelina Wingerter along with live music by Tacatantán Record’s
Abdias Ernesto Garcia.

When I arrived, Abdias greeted me. A rehearsal was still in progress for another show opening the following week. Dancer Michelina was in this production as well, along with Megan Bueto, Tymisha Harris and Blue Star. Called “Hammers and Lambs” this show is produced by Blue Star and is inspired by the paintings of Patrick Fatica. The dance number I saw rehearsed involved plenty of hammers, or croquet mallets.

Hammers and Lambs will begin each evening at The Hammered Lamb (1235 N. Orange Ave.) with a preview of Patric’s newest paintings. There will be complimentary wine and food. Then patrons will be whisked to The Venue by O-cart for the dance performance inspired by Patrick’s work. I love the idea of one art form inspiring another art form.

There are four more performances. The evening begins at 7pm sharp.

June 22, 24, 28, 29

Tickets are $40 in advance or $50 on the day of the show. Tickets are available at the Hammered Lamb or The Venue, or call (407) 412-6895

iDentify

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John DiDonna Productions in collaboration with choreographers McClaine Timmerman and Jill Lockhart presents
“IDentify”
An original dance experience. I went to a rehearsal at The Venue, (511 Virginia Drive, Orlando, Florida). There were just two dancers there when I arrived, Darcy Ricciardi and Elise Frost. Brittany Wine entered and began organizing the chairs. It became obvious that this was the first time the show was being performed at The Venue. Blue Star, who owns The Venue, came in and welcomed everyone. I decided I wanted a high vantage point, so I asked Helen, The Venue’s stage manager, if I could climb up into the Tech booth. She was fine with that and even found me a stool.

The show fused elements of hip hop and modern dance, It presented a multimedia exploration of how we as individuals and as a society find, lose, transform, and express our identities as we progress through life. The performance, offered a synthesis of dance, videography, music, spoken word, and photography. It was both a lighthearted and somber commentary on the human experience. It delved deep into the question we all seek to answer:
“Who am I?”

Before the full run through of the show, McClain addressed the cast, “You should give everything you got tonight. I’ll be the only one in the audience and I am your biggest fan. I love you all and support your every effort.”  That love, support and camaraderie was felt as the cast stretched and interacted together, and it flowed through the whole show. One of the dancers, Kim Matovina, looked exactly like McClain. I kept looking back and forth doing double takes. It made me wonder, what makes McClain unique? How is it I could misidentify her?

The show began with three females in tight black dresses putting on red high heeled shoes. They read fashion magazines and a narrator explained to them how dress to catch a man. Caffeine was out and they should drink eight cups of water a day.  When they held the magazines up over their faces, it was like a mask showing the fashion model’s face replacing their own. That would be the image I’d want to catch for the show’s poster. Elise gave a hilarious hyper monologue talking to the audience at 90 miles an hour. She would try and calm herself down with quick bouts of yoga breathing. She was laugh out loud funny!

Video presented scenes of the dancer’s everyday lives, jobs, friends warmth and angst. In one clip, McClain danced freely on a foot bridge and her dog padded up to her with curiosity. Lovers lay side by side watching as the other slept. It became clear that the dancers were sharing everything, their doubts and convictions. It was heart warming to watch, even as I battled with line and color upstairs. They drew me in and warmed me.

WHEN: Only three performances remain…
Tonight, Friday April 26th- 7:30pm,
Saturday April 27th- 7:30pm,
and Sunday April 28th- 2:30pm

WHERE: The Venue, Orlando
511 Virginia Drive, Orlando, FL 32803
Ivanhoe Village
www.thevenueorlando.com

TICKETS: $15.00 general / $12.00 student and senior
For reservations please call (407) 721-3617 beginning March 2013 – cash only at door
For credit card pre-orders please use www.redchairproject.com beginning in April 2013

The Brain That Wouldn’t Die

Posted on by Thor

On January 19th, I went to the second installment of Trash Cinema 101 at The Venue (511 Virginia Drive, Orlando, Florida). Trash Cinema 101 is a live, interactive experience, with bad films, good friends and ZERO class! Each month, Logan Donahoo guides you through his own cinematic wasteland, and brings you out the other side with drinking games and trivia – all wrapped in a campy, lewd, irreverent shell! The January film was “The Brain That Wouldn’t Die!” In the lobby of the Venue, one woman came in with a basting pan around her neck.

The film was laugh out loud funny. That wasn’t the directors intent but with Logan pointing out all the intricate flaws, the evening became hilarious. A Doctor and his wife go for a car ride. There is a crash and the one thing the doctor recovers from the wreck is his wife’s head.  In his basement lab, he keeps his wife’s head alive in a basting pan with tubes of goo snaking all over the place. He spends the rest of his time searching for the perfect new body for his wife. Where does he go? To a burlesque show of course. There is a classic cat fight between two dancers where the camera literally zooms in on a picture of a cat and a cats meows on the sound track. The fact that there were Skill focus Burlesque dancers in the audience made the scene even more hilarious. At one point when a doctor gave up on a patient on the operating table, Ruby Darling shouted out, “That’s not how it works on House!”

The wife’s head in the basting pan kept muttering “Let me die.” Everyone had to sip their drink every time she muttered that phrase. Trust me, everyone had a good buzz thanks to that undead brain. Besides keeping his wife’s head alive, the good doctor also had a deformed Frankenstein monster in the closet. The monster was never seen, but the wife’s head insisted that together they had to stop the doctor from killing in the name of science and sex. You will have to see for yourself how it ends, but even without a body, the wife was a cunning schemer. Most women would die to get a better physique.

February’s screening was “Plan 9 From Outer Space“, the next screening is March 16th at the Venue. Tickets are $10 and there is plenty of free parking and an open bar.

Trash Cinema 101

Posted on by Thor

Trash Cinema 101 is a live, interactive experience, with bad films, good friends and ZERO class! Each month, Logan Donahoo guides you through his own cinematic wasteland, and brings you out the other side with drinking games and trivia – all wrapped in a campy, lewd, irreverent shell! For the month of December Logan promised to screen a 1964 holiday cult classic called “Santa Claus Conquers the Martians.” The screening was at The Venue, (511 Virginia Drive, Orlando).  The Venue is a new performance space that Blue Star established in the Ivanhoe Village district. She had to make some major renovations to satisfy the Orlando code enforcement including a huge wheel chair ramp onto the stage. The stage is rather small, so the ramp effectively takes up one third of the foot room.

I knew Logan had to paint on his signature magenta face mask prior to the screening, so I arrived early so I could sketch him doing him makeup.  I had never been to The Venue before. The front building, a steep A frame structure was used as the lobby where people can grab a drink and mingle.  There was a photo of Great Aunt Grace hanging on the wall. A couple arrived wearing tin foil beanies with a uni-horn. The Beatles were performing on a big flat screen TV.  Keyvan Acosta arrived and paid using a credit card. The ticket person had an iPhone with one of those square swipe devices. He signed his name with his finger on the iPhone screen. There was a 30 cent service charge but it must be worth if for the high tech cool factor.  Keyvan lamented the fact that every girl he dated ends up leaving town. Just as he starts to get to know a girl he has to meet someone else and start over. It is like trying to complete a jigsaw puzzle where the image on the pieces keeps changing. Orlando is a rather transient city.

Logan was running late, and so the makeup was done quickly with the audience seated in the theater. He used two strips of masking tape to create a clean hard edge to his mask. A patchwork quilt covered the upstairs dressing room entrance. There was a candle on the table I sketched from in the theater. The film was every bit as strange and quirky as Logan promised. Children martians had thick face paint that looked like black face on film. Logan’s ongoing commentary on the low budget film made the screening laugh out loud funny. I’m a  newly converted Trash Cinema fan.

Gianni Schicchi

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I went to the final dress rehearsal for Florida Opera Theater‘s production of Gianni Schicchi at the home of Kathy and Steve Miller in Winter Park. The rehearsal had been moved to 8PM but when I arrived, the circular drive was already full of parked cars. Light glowed warmly from inside the mansion. The sunken living room offered a perfect set for the opera.

The actors, in costume, stood around Robin Stamper on the piano in the beginning, going over the songs. This is a very accessible opera since all the lyrics are in English. Stage director, Eric Pinder, then had the cast rehearse their final bows. Eric was very gracious about letting me sit in and sketch the rehearsal. He informed me that I had once sketched him at one of Mark Baratelli‘s early food truck gatherings.

Gene Tate sat on the bed as the cast got ready to do a full run through. He then got under the covers. I didn’t realize that he had perhaps the easiest role in Giacomo Puccini‘s comic opera, playing Buoso Donati, who has just died. Relatives of Buoso sit around the bed lamenting his death and more importantly yearning to find out the contents of his will. They savagely search everywhere for the document, throwing papers everywhere. When it is found, they are mortified to discover that everything had been left to a monastery. They then truly cry and lament their loss.

Gianni Schicci is asked to help find some loop hole and he advises them to pretend that Buoso is still alive long enough to get a new will drafted. The dead man is treated like a puppet as Gianni throws his voice, trying to convince a visiting doctor that he is alive. Gianni himself gets under the sheets to dictate the new will in which he takes everything in order to unite his daughter with her true love, Rinuccio, played by Austin Hallock. The aria,  Oh my dear papa, sung by Lauretta, Gianni’s daughter, played by Shannon Jennings, is one of Puccini’s most well known, and one of the most popular arias in opera. Opera is still alive in Orlando.

When: December 8th, 7:30 p.m., December 9th, 2 p.m.

Venue: Bishop Moore High School, 3109 Edgewater Drive, Orlando FL

Phone: (407) 718-4365

Web Site: http://www.floperatheatre.org
Tags: opera
Price: $30

All performances will be followed by a reception.