Song of the Living Dead
Though not a fan of vampires, werewolves or zombies over the weekend I saw “Song of the Living Dead” at the Promethean Theatre in the Black Box Theatre at Nova Southeastern University. This “Musical about love” “play about zombies” actually surprised and entertained me. We were warned ahead of time about two things: it’s raunchy and there will be blood. So with not much more than the title of the play, a little warning and clothes that could get bloody we set out with a group of friends to see the show.
The play opens with George and Judith on a beautiful day as they are getting engaged. Unbeknownst to them there has been a viral outbreak that’s reanimating corpses and of course all they want is brains! …except for the dyslexic kid zombie who wants “brians”. Intertwined in this mix is Harry Hardman, the over-the-top executive who is obsessed with the newly-engaged Judith. Harry is definitely a stand-out in the play providing such gems as the song “I’m F*ing Awesome” while wearing a double breasted suit with comically large shoulder pads (think of a business suit designed by the Romulans). As the zombie virus spreads Judith, George and a now commando version of Hardman end up trapped in a Party City with a small collective of other refugees.
A parallel storyline to the triangle of George, Judith and Harry is the Reverend Seabrook, a fire and brimstone preacher who leads his choir in “The Lord God Hates Them All”. Seabrook fears and holds in contempt anyone who is different than him and his faith all whilst encompassing the parable of the man in the flood. This leads to some very funny scenes involving him and the gay couple consisting of an Orthodox Jew and a Muslim – a hilarious trifecta of Rev. Seabrook’s hatred.
The play delivers on the promise of blood, there’s a “splash zone” in the first row, but the blood hit all the way back to the fifth. There is indisputably raunchiness, a zombie gives birth to a zombie fetus and there’s a scene about “Going Gay for Jesus”. The play is worth seeing and I hear rumors that the play might be extended through September 10th.
Cirque Eloize iD
The final South Florida performance of Cirque Eloize iD was a visual feast. The technical direction and set design of the show are flawless. As for the story, I’m not sure I followed it. In fact, I’m not sure there is one. The show begins with a love scene that involves some very nice floor based gymnastics and lifts along with an act on a Chinese Pole and some break dance fighting. After that the plot is not really present and seems to be a jumbled mess of incongruent story lines. The only way that I picked up on this being like West Side Story is that it says so in the promo: West Side Story Meets Hip Hop. I definitely got the hip hop vibe. Although it added to the story, they used break dancing for filler every chance they got, sometimes needlessly. I personally think that their “fights” would be much more dynamic if they incorporated more capoeira techniques instead of trying to make break dancing look like fighting.
Story aside it was a beautiful show. The acts included traditional Cirque performances – aerial lyra, strength acts mixed with choreography, balancing acts, juggling, a contortionist, Cyr wheel and aerial silks. Newer performances were incorporated like jump rope, rollerblading, powerskips and BMX stunts (including audience participation). The one act that really seemed to impress the audience was the trampo-wall act, which involved the entire troupe. This act worked seamlessly with the stage decor, which incorporated trap doors, moving platforms, and digital imagery across it’s various surfaces as each performer did tricks and stunts up the many surfaces of the wall. Throughout the show I could pick up that the performers were tired – and rightfully so, they’ve been performing a rigorous schedule over the last month plus here in South Florida.
Coming from more of a backstage and technical background, the set design is what really impressed me. At any given time nearly every face of the stage design had digital imagery on it. This was accomplished through 9 projectors that must have overlapped with seamless edge-blending or overlapping projection and some major keystoning. The effect allowed for scenes to change while keeping the projection from being fully eclipsed by a performer’s body or other set piece. This is quite an accomplishment as the performers were up against the projection surface for much of the show.
Miami was the last leg of the US tour schedule, but if you have a chance to Cirque Eloise iD, I would take it. The visual experience of the technology behind the show along with the cirque acts is worth it. They even encourage audience participation through live lobby and house video along with constantly updated twitter and text feeds projected on stage.
HGTV Design Star
I don’t really enjoy most reality tv/contest driven cross over shows, but HGTVs Design Star is one of the few, which keeps me engaged. I think it’s partially because my real-world design driven job is like being on that show everyday with limited budgets and even more limited time. This new season, however, has taken a little getting used to.
First of all, where is Clive?! The past several seasons we have watched a host lead us through the designs and tell contests “your show has been canceled.” In our house we have affectionately called the act of redubing an onscreen conversation “Cliving” – especially to interject the sponsor’s name. This season it seems as though Vern has taken over this role (Cliving included) – I do have to admit it does give a fresh, more organic flow to series, Vern always has the best one liners.
While we’re talking about judges, this year’s line-up makes more sense than previous seasons. I was always confused about why Cynthia Rowley, predominately a fashion designer, and Martha McCully, executive editor of InStyle Magazine, were there – I get that it falls under their respective umbrellas, but it was a bit of a stretch. Candice and Genevieve make perfect sense. Candice is one of the most talented (and few) Interior Designers on the network, and Genevieve is a talented decorator.
So after 3 episodes here’s my rundown: Nina and Courtland will be in the final 3 unless they really screw up; the third slot is still up for grabs. Courtland has a good design sense and almost seems like he’s the big brother of the show. Nina is over-confident and too cocky. She thinks she is more talented than she is, but her confidence gets her farther than most and if she learns that design is as much about restraint and knowing your weaknesses (sorry you’re NO David Bromstad, leave the painting to someone else) then she can harness her strengths even better.
The overall talent base isn’t as strong as some past seasons, but it will be interesting to see how this one plays out. There are some talented designers on the show, and some who seem to have been carried too much by the teams they’ve worked with in the past. It will be fun to see what is revealed in this season.
Edward Steichen: In High Fashion, 1923-1937
We were finally able to enjoy some culture this weekend with the viewing of Edward Steichen: In High Fashion, 1923-1937 on view at the Museum of Art in Fort Lauderdale. As someone who did not know much about Steichen’s career beyond recognizing a few photographs it was interesting to find out more about his life and work.
The layout of the exhibit starts in the early 1920’s, where many of the portraits have a sepia and faded palette to the prints, from there it chronologically follows his career through the 1930s. His photographs of the 20s seem (at least to me) to be more straightforward and less dynamic than his later works. As the 20s gave way to the 30s Steichen’s photos have more depth, both in the blacks of the grayscale and the human interest displayed within the frame. His film noir treatment of light and the Art Nuevo, and especially Art Deco styling of his backgrounds, subject mater, and overall aesthetic really began to take shape as his career progressed.
Though probably known best for his female subjects, the way he shot his male figures are both epic and timeless. The photo of Gary Cooper in the late 20s reminds me of the Don Draper character from the AMC show Mad Men (see images above). My favorite photo out of the entire exhibit was probably the smallest on display. It was of a movie director or producer taken in 1930. The man (who I really wish I could remember who it was) is seated in a director’s chair with lighting and grip equipment serving as the background. The camera is positioned lower that the subject and the lighting is of an intense key light with mild fill …exceptionally powerful and stunning.
After viewing the exhibit you see how Steichen was able to influence fashion photography from that point on. The texture and shape he could create through the natural curves of his models coupled with the lines of the fabrics they wore were both dynamic and simplistic. Edward Steichen: In High Fashion, 1923-1937 was on display at the Museum of Art in Fort Lauderdale from February 28 through April 11th, 2010. From Fort Lauderdale it makes it’s last scheduled stop at The Nelson-Atkins Museum of Art in Kansas City, MO from May 15 – July 25, 2010.
Naked Women Fully Clothed
This weekend we had the pleasure of seeing “Naked Women Fully Clothed” presented by The Women’s Theatre Project. The play is “A titillating, provocative and humorous collection of one act and short plays that reveal and lay bare an array of secrets and revelations.” …In plain English, it was just funny!
The format was much like Saturday Night Live, providing monologues and group skits. The cast of six women transformed a modest stage into an array of environments through basic props and some imagination. Some of my favorite sketches were, “How to Be an Actress,” “I am Pastrami,” and “Warning! Women’s Body Parts Move” – where a “Nutty Professor”-type character explains that her body parts have been disappearing, only to discover that her thighs are now on Cindy Crawford. The play was so funny that my face hurt from laughing by the time intermission came around.
“Naked Women Fully Clothed” was the final performance of the 2009 Season, but fear not, the 2010 Season kicks off with “The Year Magical Thinking” from February 18 – March 14, followed by “Going To See The Elephant” April 22 – May 11, and Wicked Sisters August 5 – 29.
For more information about upcoming events, or how to sponsor the Women’s Theatre Project check out their website, or call them at: 866-811-4111.