British Designer Claire Barrow Stages First Solo Art Show

CLAIRE’S CREATIVITY: British designer Claire Barrow will be taking over East London’s M. Goldstein gallery for her first solo art show in April.
Titled “Bed, Bath & Beyond,” the mixed media exhibit will feature 17 pieces in ink, neon and acrylic.
The works juxtapose modern daily anxieties with medieval fables and religious iconography.
Barrow references the ritual of baptism against the daily habit of taking a shower or the fear of germs within a series of canvases, neons, shower curtains and toilet rolls.
“My initial reference point was social anxieties in British modern life. Then I was researching imagery from the Renaissance and Christianity’s depiction of hell, baptism and rebirth, so I started thinking about the similarities between that and the modern rituals of washing and feeling clean or free of guilt,” Barrow told WWD. “Once I had began painting and drawing, though, it was very much coming from my own imagination, I began referencing my feelings and instincts rather than taking any kind of direct visual inspiration.”
The NewGen recipient,who debuted her label as part of Fashion East during the spring 2013 season, has always blurred the lines between art and fashion.
“Every piece I create has art on it, there is a complete crossover

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Elizabeth Livingston’s Paintings Come Out of Darkness With Solo Show ‘Night Fell’ in LES

Every summer, on a town in the very northwestern corner of Connecticut — a community of roughly 1,700 people, a farmer’s market and some acclaimed Berkshire hiking trails — a rough-hewn group of artists descend.

During the six-week course, instructors of Yale’s Art and Music School in Norfolk polish their charges into refined visionaries — the next Chuck Close or Kehinde Wiley. In 1998, Elizabeth Livingston, at the time a Yale undergraduate, arrived ready for the rigor — and found herself working at night, under a pale streetlamp, painting the dark, isolated clapboard houses surrounding the town.

“I would look at the houses in the dark and wonder how can something be so beautiful and precious and detached and terrifying at the same time, and moreover, how would I reconcile these aspects in my painting?” Livingston said recently in her DUMBO studio. “A professor who, at first, called my work garbage came around and said ‘I think you’re on to something, here’.”

For the next 15 years, Livingston worked at resolving the contrasts in her photorealistic paintings — mostly portraits of her friends, sister and self in detached or solitary moments — and showed at galleries all over New England. This month, however, she exhibits the isolation and solitude — the anxiety and the allure — of modern life’s continuum at the Lodge Gallery in Manhattan’s Lower East Side.

Entitled Night Fell, after one of her pieces, it is the artist’s first solo New York show.

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“Liz takes great pleasure in peeling back veneers of suburban order to capture intimate moments,” said Jason Patrick Voegele, one of the founders of the Lodge Gallery and the instigator of the show. “Her most recent body of work evokes all the same cinematic emphasis on visual scrutiny and moments of false security — much like a Hitchcock or Vermeer.”

“There is a shared suspense in these voyeuristic moments, a sense of the quiet before the storm or the last rays of light before night arrives.”

As one of her influences, Edward Hopper, Livingston has been called a realist, but her works manifest the ways in which memory infuses her surroundings: mostly the material memorial of suburban Connecticut, just outside New York City. Hopper told the Smithsonian Institution in 1959 that his “aim in painting has always been the most exact transcription possible of my most intimate impressions of nature.” So is Livingston’s.

Raised “solidly middle class” in New Canaan, Connecticut — a city with one of the highest GDPs in the country — Livingston witnessed the “whole Stepford Wives thing” or “how something could appear so charming and so perfect, yet underneath have such a darkness and a vulnerability.” Livingston deeply felt the loneliness, guardedness and illusion of community in her youth and at Yale began to paint figures that expressed it.

Of two key pieces at the Lodge Gallery, Wedding Day, in which she is portrayed sleeping nestled under plush bedding, and Before I Could Answer, a six-foot by seven-foot self-portrait of herself in a turquoise pool, Livingston said “we are most exposed when we feel the most protected.” She has placed her viewers as voyeurs: in one instance watching the intimate ambiguity before a life milestone and in the other, a contemplative moment preceding another significant decision.

Livingston, who is generally introspective and reserved, said only of the latter: “It represents being out on a limb.

“Pools are so brilliantly lit at night that everything around them disappears into black. It lends to that precarious feeling.”

That general reluctance toward averment has, perhaps, kept Livingston away from the necessary self-promotion required for the coveted New York scene since she earned an MFA in painting at Boston University. But her pursuit of a regular life outside painting – one that many artists eschew — had also previously kept her from straying too far from the galleries in Boston and New Haven and producing another significant body of work.

Not long after settling in Brooklyn and giving birth to her son, however, Livingston felt a twinge in her right hand that required a stroke of a paintbrush. Although she made two self-portraits during her pregnancy — Waiting, which shows a pregnant Livingston turning out a lamp, and the discordant Hurricane, a meditation on Hurricane Sandy — she temporarily abandoned the figure painting for her reclusive houses.

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After meeting Voegele at several art fairs and turning down his requests for work, Livingston presented him with these portraits and Night Fell, a painting of a quaint two floor, porch-lit Connecticut home that is both stable and vulnerable, and surrounded by the lush detail of the encroaching rural landscape.

“I had started seeing the house as a vessel for the family, rather than an isolated figure. But I always seem to go to the opposite side of the ways in which most people think — how nothing treasured is going to last forever,” Livingston said. “”A small country home at dusk with the porch light on reads both as a safe house and as defenseless outpost against the dark woods surrounding it.”

That Livingston paints the ambiguity about life most people generally gloss over or cast aside could possibly constitute her appeal in a world that grows more and more uncertain. Or as Voegele suggests, “Her scene juxtapositions are rendered impeccably, and our patrons really relate to her experience.”

Either way, whether building or person, country or city, Livingston doesn’t envision ever letting go of the artist’s sensibility instilled in her. “I somehow always return to this exploration of the idea that the more ‘safe’ and protected our lives, the more vulnerable we actually are.”

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Young Han Solo ‘Star Wars’ Spinoff To Be Helmed By ‘Lego Movie’ Directors

“Star Wars” and Legos were practically made for each other, as the “Force Awakens” Lego remake trailer proved. And now, the duo behind “The Lego Movie” are headed to a galaxy far, far away.

On Tuesday, StarWars.com announced that Phil Lord and Chris Miller, the team best known for the Oscar-nominated animated film, will direct a ”Star Wars” anthology film. The directors, who were also behind “21 Jump Street, “22 Jump Street” and “Cloudy with a Chance of Meatballs,” will direct a stand-alone film based on a young Han Solo. The spinoff, written by Lawrence Kasdan (“The Empire Strikes Back,” “Return of the Jedi,” “The Force Awakens”) and Jon Kasdan (“The First Time”), will reveal how Han Solo became the “smuggler, thief, and scoundrel” we first met at the Mos Eisley Cantina.

“This is the first film we’ve worked on that seems like a good idea to begin with,” Lord and Miller said in StarWars.com’s press release. “We promise to take risks, to give the audience a fresh experience, and we pledge ourselves to be faithful stewards of these characters who mean so much to us. This is a dream come true for us. And not the kind of dream where you’re late for work and all your clothes are made of pudding, but the kind of dream where you get to make a film with some of the greatest characters ever, in a film franchise you’ve loved since before you can remember having dreams at all.” Well said.

According to Entertainment Weekly, a Han Solo origin film, which was first rumored two years ago, was reportedly going to be one of the first films in the “Star Wars” anthology series. However, “Rogue One” from director Gareth Edwards, was pushed up as the first spinoff so as not to confuse fans after Harrison Ford’s appearance in “The Force Awakens.” 

Before the young Han Solo spinoff hits theaters on May 25, 2018, there’s lots of “Star Wars” to look forward to. J.J. Abrams’ “The Force Awakens” will open Dec. 18, followed by “Rogue One” on Dec. 16, 2016. There’s also the second “Star Wars” stand-alone film, which director Josh Trank left in May, as well as a separate rumored Obi-Wan Kenobi spin-off

For more, head to StarWars.com.

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Young Han Solo ‘Star Wars’ Spinoff To Be Helmed By ‘Lego Movie’ Directors

“Star Wars” and Legos were practically made for each other, as the “Force Awakens” Lego remake trailer proved. And now, the duo behind “The Lego Movie” are headed to a galaxy far, far away.

On Tuesday, StarWars.com announced that Phil Lord and Chris Miller, the team best known for the Oscar-nominated animated film, will direct a “Star Wars” anthology film. The directors, who were also behind “21 Jump Street, “22 Jump Street” and “Cloudy with a Chance of Meatballs,” will direct a stand-alone film based on a young Han Solo. The spinoff, written by Lawrence Kasdan (“The Empire Strikes Back,” “Return of the Jedi,” “The Force Awakens”) and Jon Kasdan (“The First Time”), will reveal how Han Solo became the “smuggler, thief, and scoundrel” we first met at the Mos Eisley Cantina.

“This is the first film we’ve worked on that seems like a good idea to begin with,” Lord and Miller said in StarWars.com’s press release. “We promise to take risks, to give the audience a fresh experience, and we pledge ourselves to be faithful stewards of these characters who mean so much to us. This is a dream come true for us. And not the kind of dream where you’re late for work and all your clothes are made of pudding, but the kind of dream where you get to make a film with some of the greatest characters ever, in a film franchise you’ve loved since before you can remember having dreams at all.” Well said.

According to Entertainment Weekly, a Han Solo origin film, which was first rumored two years ago, was reportedly going to be one of the first films in the “Star Wars” anthology series. However, “Rogue One” from director Gareth Edwards, was pushed up as the first spinoff so as not to confuse fans after Harrison Ford’s appearance in “The Force Awakens.” 

Before the young Han Solo spinoff hits theaters on May 25, 2018, there’s lots of “Star Wars” to look forward to. J.J. Abrams’ “The Force Awakens” will open Dec. 18, followed by “Rogue One” on Dec. 16, 2016. There’s also the second “Star Wars” stand-alone film, which director Josh Trank left in May, as well as a separate rumored Obi-Wan Kenobi spin-off

For more, head to StarWars.com.

To subscribe to our HuffPost Entertainment WhatsApp account:

1. Download WhatsApp on your phone.

2. Save this number, 347-334-1794, in your phone’s contacts.

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Solo Perduta Abbandonata!

Take a good look at Carol Burnett’s expression in this photo. Would you think, for even a minute, that the character she was playing was severely depressed? Of course not! Anyone can tell that she’s spoofing Shirley Temple.

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That picture is from 1964’s Fade-Out, Fade-In, a box office failure as a result of the back injury Burnett suffered during the show’s run. In the above scene, she teamed up with Tiger Haynes as two out-of-work Hollywood actors struggling to make some money by handing out leaflets. Haynes was imitating Bill “Bojangles” Robinson and Burnett was mimicking one of America’s most beloved child actors. You can hear them on the original cast recording singing “You Mustn’t Be Discouraged.”

No one is immune to depression. How severely depression can pull the rug out from beneath someone’s feet depends, to a large degree, on their emotional and psychological strength. Just listen to Ethel Merman singing “Down in the Depths on the Ninetieth Floor” from Cole Porter’s 1936 hit musical, Red, Hot and Blue.

How well a person manages to cope with depression may also be a function of their personal philosophy. One of the best credos for survival can be found in the Jerome Kern/Dorothy Fields song entitled “Pick Yourself Up” that was introduced by Fred Astaire and Ginger Rogers in 1936’s Swing Time.

Two recent stage productions introduced Bay area audiences to protagonists whose spiritual core was taken away from them by circumstances they could never have anticipated (much less mitigated). Whether it be spiritual, emotional or professional, once people have been stripped of the core motivation that has propelled them through most of their adult lives, what chance do they have of a full recovery?

* * * * * * * * * *

Fans of bel canto opera are accustomed to sopranos delivering intensely dramatic (and often heavily ornamented) mad scenes in which a betrayed (and often betrothed) virgin loses her wits and bites the dust. Occasionally they may be treated to longer and more sober operas written for a solo soprano, such as Arnold Schoenberg’s 30-minute Erwartung or Francis Poulenc’s 40-minute La Voix Humaine.

Without a full orchestra, however, spoken monologues place exceptional demands of stamina, memorization, pacing and nuance on an actor. When performed within the safety of a proscenium arch, the actor can concentrate his efforts in one direction. However, when performed in a three-quarter-round style of seating, a constant sense of motion and multidirectionality is required to establish and maintain communication with the audience.

Adapted by Gary Graves from a short story by Charlotte Perkins Gilman, The Yellow Wallpaper is recently received its world premiere production from CentralWorks. In his program note, Graves (who states that, in the process of crafting his adaptation, he hardly changed a word of Gilman’s writing) explains that:

At the age of 21, Charlotte Perkins Gilman married. A child soon followed and the young mother suffered a bout of what was then called ‘neurasthenia, nervousness, or hysteria’ (today, we would call it ‘postpartum psychosis’).

A renowned physician of the day, Dr. Weir Mitchell treated Charlotte and prescribed for her a regimen he termed as ‘the rest cure.’ Mitchell instructed the patient to ‘Live as domestic a life as possible.

Have your child with you all the time…Lie down an hour after each meal. Have but two hours’ intellectual life a day. And never touch pen, brush, or pencil as long as you live.’ She was forbidden to write.

Eight years later, in 1892, Charlotte published The Yellow Wallpaper, a short story of some 6,000 words, a cautionary tale about the risks of Dr. Mitchell’s ‘cure.’ The work was destined to become a landmark in American feminist literature, as well as a terrifying psychological drama in the vein of Gothic horror.

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Elena Wright stars in The Yellow Wallpaper
(Photo by: Jim Norrena)

Directed by Jan Zvaifler, The Yellow Wallpaper stars Elena Wright as Jane, a woman whose physician husband (John) has prescribed an extended “rest cure” in a dilapidated old mansion. Left to her own devices, Jane eventually stops writing in her journal, starts hallucinating, and descends into madness as the room’s yellow wallpaper continues to haunt her.

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Elena Wright in The Yellow Wallpaper (Photo by: Jim Norrena)

The Yellow Wallpaper marks the 47th play to receive its world premiere from CentralWorks. As is so often the case, the production is beautifully framed with meticulous care by Gregory Scharpen’s superb sound design. Working with violinist Cybèle D’Ambrosio (who composed and performed music appropriate to Jane’s mental deterioration during the performance), Scharpen managed to create subtle annoyances (the sound of a baby crying in another room) as well as constant reminders of the sounds a mentally unstable person might be hearing in her head. The results were forcefully dramatic and occasionally quite creepy.

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Elena Wright and Cybèle D’Ambrosio in
The Yellow Wallpaper (Photo by: Jim Norrena)

Wright’s carefully paced, beautifully layered and deeply compelling performance started as a model of innocence before accelerating into a dramatic tour de force which showed a desperately lonely woman trapped by fear and isolated against her will by the common wisdom that “father knows best.” An added treat was the chance to be so close to the beautiful period costumes that Tammy Berlin designed for the two women.

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Elena Wright in the final moments of
The Yellow Wallpaper (Photo by: Jim Norrena)

* * * * * * * * * *

In the process of converting a stage play to a screenplay, some changes can vastly improve the process of storytelling. Consider the case of 1999’s Compleat Female Stage Beauty, which was written by Jeffrey Hatcher (who subsequently wrote the screenplay for its 2004 film adaptation, Stage Beauty, starring Billy Crudup and Claire Danes).

Hatcher’s play was inspired by the story of Edward Kynaston, a 17th-century English actor whose strong suit was performing in drag (most notably as Desdemona in Shakespeare’s tragedy, Othello). Kynaston rose to fame during a period when the Puritans, led by Oliver Cromwell, had made sure that women were not allowed to act on an English stage. In his director’s note, Ed Decker writes:

I’ve wanted to produce and direct Jeffrey Hatcher’s Compleat Female Stage Beauty for years. It is a wonderful play within a play about the theatre, featuring characters based upon many real people who lived in Restoration England circa 1660.

We join the action just after the strict Puritan rule of Oliver Cromwell, at a time when the people of Britain were more than happy to embrace the reign of King Charles II and his love of pleasurable things.

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Stephen McFarland stars as actor Edward Kynaston in
Compleat Female Stage Beauty (Photo by: Lois Tema)

In planning for our production of the play, we chose an unembellished scenic design in order to create an acting space that keeps the focus on the characters, their relationships, and the fluid ageless situations they are navigating.

We also wanted to reflect that, with the sudden re-opening of theatres at the onset of the Restoration, there was quite a scramble to get performance spaces up and running. Resources were scant. Mechanized stagecraft and advanced scenic painting techniques that would later be imported from France and Italy were not yet available or affordable.

Theatre companies had to rely widely on their imagination and that of the audience’s in the rebirth of the art form in England. To that end, choosing just the right costume, prop, or sound effect was crucial in persuading the audience to suspend their disbelief.

These elements had to likely do double, triple, or quadruple duty on stage as part of the company’s repertory of plays.”

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Edward Kynaston (Stephen McFarland) is helped
by his dresser, Maria (Sam Jackson) in
Compleat Female Stage Beauty (Photo by: Lois Tema)

In addition to being able to open up his story to include period splendor, realistic settings, lavish lighting, and powerful close-ups for the 2004 film, Hatcher combined the characters of Kynaston’s dresser, Maria, with Margaret Hughes from his original stage play — a move that helped to tighten the screenplay, strengthen dramatic motivations, and bring a new economy to a crucial part of his story.

On the surface, Compleat Female Stage Beauty would seem like a perfect fit for NCTC’s audience.

  • Its main character is a talented drag personality who is also involved in a long-term relationship with a noble (George Villiers, the Second Duke of Birmingham).
  • The play includes a scene in which Kynaston is eager to experience the psychological differences in experiencing male and female sexuality depending on gender roles, gender identity, and sexual positions.
  • After losing his professional career to a “real woman,” Kynaston finds himself without his romantic partner, his highly marketable skills, as well as the fame and loyal audience he had grown to cherish.
  • When forced to coach his rival (the so-called Margaret Hughes) in how to perform Desdemona’s death scene for a command performance before King Charles II, he is essentially being forced to train his replacement at no charge.
  • When the King’s mistress, Nell Gwynne, shows Kynaston the trick that will allow him to return to the stage, an effeminate gay man (whose sexual identity was heavily invested in being a bottom) finds renewed success after being forced to “butch it up.”

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Edward Kynaston (Stephen McFarland) meets his rival, Margaret
Hughes (Elissa Beth Stebbins) in Compleat Female Stage Beauty
(Photo by: Lois Tema)

Unfortunately, the New Conservatory Theatre Center’s opening night performance of Hatcher’s play lacked a great deal of electricity until late in Act II, when Kynaston coaches his dresser, Maria (who has stepped into the role of Desdemona), and then performs the final scene of Othello before King Charles II. Up until that point, much of the evening had seemed quite labored. Some of the causative factors might have included the following:

  • Although Charles II was known as “The Merrie Monarch” (not to be confused with Hawaii’s King Kalakaua), Decker chose to portray him as a rather silly twit, which seemed a bit unnecessary.
  • While I understand Decker’s desire for a stripped down playing space, it made Giulio Cesare Perrone’s unit set look like a cheap high school production.
  • Although several of the actors in supporting roles did creditable work — most notably Ali Haas as Nell Gwynne; Sam Jackson as Maria, Justin Liszanckie as Kynaston’s lover, and Patrick Ross as the journalist, Samuel Pepys — there was never any doubt that Stephen McFarland was a much stronger performer than anyone else in the cast. Some of the other actors almost seemed amateurish by comparison.

2015-06-03-1433357317-8269575-StageBeauty4.jpg
Maria (Sam Jackson) tends to the degraded and humiliated
Kynaston (Stephen McFarland) in a scene from
Compleat Female State Beauty (Photo by: Lois Tema)

Others in the cast included Colleen Egan as Lady Meresvale, Chris Morrell as Ms. Fayne, and Elissa Beth Stebbins as Margaret Hughes. Jeffrey Hoffman did double duty as the lisping Sedley and Ms. Revels while Matt Weimer took turns appearing as King Charles II and Betterton (the actor/theatre manager who is Kynaston’s boss).

2015-06-03-1433357361-9541939-StageBeauty5.jpg
Colleen Egan (Lady Meresvale), Chris Morrell (Ms. Fayne),
and Elissa Beth Stebbins (Margaret Hughes) in a scene from
Compleat Female Stage Beauty (Photo by: Lois Tema)

To read more of George Heymont go to My Cultural Landscape

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Guitar Solo Scales: Solo Notes for Playing Songs in Each Key

Guitar Solo Scales: Solo Notes for Playing Songs in Each Key


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Complete Advanced Piano Solo: Music for All Occasions

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DigiTech Jamman Solo Looper

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DigiTech reinvents the looper…again! The JamMan Solo looper is perfect for the guitarist or bassist looking for a full-featured looper in a compact, stompbox-sized design. Store up to 35 minutes of CD-quality loops in 99 onboard positions, or up to 16 hours of material using the SD memory card expansion slot (with optional 8GB or higher SDHC card) to add 99 more slots!The JamMan Solo looper pedal also has a USB port to transfer loops to and from a computer, a metronome with multiple rhythm sounds and time signatures, automatic recording, and increased Hands-Free functionality with optional footswitch. Power supply included. Features Store over 35 minutes of mono, CD-quality loops in 99 internal memories Optional SDHC card can store over 16 hours (with optional 8GB or higher SDHC card) of CD-quality audio in 99 additional memories Record rhythm loops and solo over them on the fly, completely Hands-Free Connect to your computer via USB and use the JamManager Loop Librarian software to organize and archive your loops Aux Input lets you import music from CD and MP3 players Load up the JamMan with bass lines, drums, harmonies, and more; create an entire backup band, take it with you, and perform anywhere Slow down or speed up any loop without changing pitch Metronome with multiple rhythm sounds and time signatures Rugged metal chassis Power supply included Optional footswitch adds additional Hands-Free functionality Convenient, compact looping from the company that brought you the first looper! Order now!!

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Annaleigh Ashford Takes ‘Lost In The Stars,’ Her Glitzy Solo Cabaret, On The Road

Annaleigh Ashford is honored when friends and fans sum up her new cabaret act, “Lost in the Stars,” as “gay magic.”

“There are certain performers that the gay community receives and recognizes with love, and my whole life, I’ve always responded to those same artists,” the 29-year-old singer-actress told The Huffington Post in an interview. She pointed out that the first venue she ever performed in was Denver’s Theatre on Broadway, which was known for its queer-inclusive shows: “I’ve always felt very attuned to, and at home in, the gay community.”

There’s a sassy sensibility in the retro glamour of “Lost in the Stars,” which Ashford is taking on the road with her band, The Whiskey 5, after a string of acclaimed performances at New York’s 54 Below. The star, best known for her Tony-nominated stint in Broadway’s “Kinky Boots” and her portrayal of lesbian prostitute Betty on Showtime’s “Masters of Sex,” is promising audiences in Chicago, Denver, San Francisco and Las Vegas plenty of sequins, sky-high wigs and classic disco.

Of course, Ashford doesn’t limit her material to the late ’70s or, more specifically, the confines of Studio 54. She and musical director Will Van Dyke have crafted an eclectic set including songs by Stephen Sondheim, Elton John, Cyndi Lauper and Alanis Morrisette that they hope will have universal appeal. One highlight is a medley that offers vestiges of Ashford’s musical theater roles, including “Hair,” “Rent,” “Wicked,” “Legally Blonde” and, of course, “Kinky Boots.”

Annaleigh Ashford poses backstage at New York’s 54 Below.

annaleigh ashford

Although her career has taken her down a more thespian path, Ashford sees “Lost in the Stars” as fulfilling her childhood dream of becoming a bonafide cabaret star on the road. Each city on the tour, she says, has special resonance. She was born in Denver, while her husband, actor Joe Tapper, hails from outside Chicago. Meanwhile, she played San Francisco as part of the out-of-town tryout for “Legally Blonde,” and participated in dance competitions in Las Vegas each as an adolescent.

“I grew up listening to cabaret. At 7 and 8 years old, I was already singing like a club performer,” Ashford, who cites “Patti LuPone at Les Mouches” and Ann Hampton Callaway and Liz Callaway’s “Sibling Rivalry” as influences, explained. “One of our goals is to bring this art form to a younger audience. I think our generation isn’t as versed on cabaret [as previous generations were], so I think it’s important to expose younger audiences to the art form.”

She and Van Dyke said they aim to keep the show as organic as possible by refreshing or swapping out musical numbers in each new city and “playing a bit off the cuff” throughout.

“She just flies off the handle sometimes, and it’s amazing,” Van Dyke said. “It’s just so fun to be on that ride.”

Ashford would ultimately like to expand the show into a full-scale production of “song, dance and epic storytelling” in the vein of Liza Minnelli’s famed “Liza with a ‘Z’” act. In the meantime, she and Van Dyke plan to produce an album that compiles the best of their live performances on the tour, which they’d like to release this fall.

She also hopes that “Lost in the Stars” will be the first of many cabaret acts, noting that she’s currently listening to a lot of New Orleans jazz, Janet Jackson and ’80s era Bonnie Raitt.

“My ambition for the piece is that you walk out the door with your heart having been touched by at least one song,” she said. “I think that intention has carried us through.”

Annaleigh Ashford and The Whiskey 5 will perform “Lost in the Stars” at Chicago’s Broadway Playhouse on March 21. She plays the Denver Center for the Performing Arts on April 11-12, San Francisco’s Venetian Room April 19 and the Smith Center for the Performing Arts in Las Vegas on June 27-28.

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Motherwell Products 6 inch Solo Rear Fender Mounted Luggage Rack Chrome – Harley Davidson FX Dyna Models 06-up – 535

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EB Brands SOLO 965 (Mens)

EB Brands SOLO 965 (Mens)


The Sportline SOLO 965, the first fitness device with FitTrac(TM) and MoveTrac(TM) technologies and a built-in Calorie Genius (24 hour calorie burn tracking), is designed to track your resting heart rate over time and also record the intensity of movement 24 hours-a-day to show users how they are improving fitness condition and burning calories. EB Brands SOLO 965 (Mens) is one of many Heart Rate Monitors available through Office Depot. Made by EB Brands.
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Solo Nutrition Bars – 12 pack

Solo Nutrition Bars – 12 pack


Whether training or competing, the ability to perform depends on the right fuel choice. SoLo’s high performance nutrition delivers long-term energy, allowing you to perform at your best, over extended periods of time.
List Price: $ 21.99
Price: $ 21.99

Motherwell Products Solo Luggage Rack – Harley Davidson XL Sportster 8831200 Models 04-Up – 210-04

Motherwell Products Solo Luggage Rack – Harley Davidson XL Sportster 8831200 Models 04-Up – 210-04


Fitment Info:Solo Luggage Rack for Sportster 2004Up Models 883 and 1200 When Using a Factory Solo Seat.,Will fit Sportster Custom 2004Up with an aftermarket seat installed.Features:MOTHERWELLS signature Solo Luggage Rack Line provides a combination of durability and style at its best. Each Luggage Rack is constructed from solid steel,T.I.G. welded,hand polished,then chromed to a show quality finish. Simple mounting system,and a sleek style that follows the curve of your fender. Pride of craftmanship is evident Specifications: Surface Dimensions: 734 x 6 PickUp Point Distance: Approx. 7 Material: 38 Solid Steel Pillion Seat ReplacementNOTE: 2004 XL Fenders have THREE Seat Bolt Locations.Rack Mounts Using the TWO REAR Seat Bolt Locations.,See Photo 1 Can be used with other seats that attach the rear of the seat to the center bolt location.
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Motherwell Products Solo Luggage Rack Chrome – Harley Davidson FX Dyna Models 91-05 – 510

Motherwell Products Solo Luggage Rack Chrome – Harley Davidson FX Dyna Models 91-05 – 510


If your fender has plastic plugs installed,you will require a mounting kit,Part Number MWL200016 Must order mounting kit direct from manufacturerFeatures:MOTHERWELLS signature Solo Luggage Rack Line provides a combination of durability and style at its best. Each Luggage Rack is constructed from solid steel,T.I.G. welded,hand polished,then chromed to a show quality finish. Simple mounting system,and a sleek style that follows the curve of your fender.,Pride of craftmanship is evidentSpecifications: Surface Dimensions: 934 inches X 6 inches PickUp Point Distance: Approx. 914,Material: 38 Solid Steel Replaces Pillion Seat Fits: Harley Davidson FX Dyna Models 19912005Except FXDWG
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Solo Debut: Film Themes – Easy Playalong Clarinet. Sheet Music

Solo Debut: Film Themes – Easy Playalong Clarinet. Sheet Music


Capture the magic of the silver screen with this special selection of themes from the world’s greatest movies, all arranged for the elementary Clarinet student. Ten melodies have been chosen from blockbusting Hollywood favourites including The Lion King , Toy Story , The Godfather and Lord Of The Rings . Each theme has been carefully adapted to be accessible to the early performer, giving you the chance to master your skills and techniques by playing the tunes you know and love. You will even find a section of helpful performance tips to guide your learning and inform your practicing. The accompanying CD has professional performances of every piece, alongside backing tracks for you to use for both rehearsal and performance. FREE internet downloads are also available with this publication, with piano accompaniments and practice demos downloadable to your computer along with 2 bonus tracks!

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Sonic Golf System-1 Solo Edition

Sonic Golf System-1 Solo Edition


Sonic Golf System-1 Solo Edition Designed for personal practice, the Sonic Golf System-1 Solo Edition includes includes everything you need to hear your swing. With the Sonic Golf System-1, you can literally hear the rhythm, tempo and timing of your swing in real-time, and tune in to the most fundamental success factors of the golf swing. “Sonic Golf System-1 has helped me tremendously. I always had a good rhythm, but I never had a consistent rhythm. It’s making my swing a lot more consistent, not just with the driver but the whole game. It’s one rhythm for the whole game instead of having a quicker rhythm for irons or slower rhythm for the driver.” Vijay Singh, after winning the 2008 Deutsche Bank Championshi p Includes * One SX-1 Transmitter/Shaft Insert – the heart of the System-1, used to capture and transmit the data of your swing * One RX-1 Receiver/Synthesizer – used to convert the transmitter’s data into sound * Three Sonic Golf/Golf Pride Tour Velvet specialty grips – attach them to multiple clubs and easily transfer your System-1 * One Sony MDR-J10 stereo headphone system – these headphones are designed to be lightweight and secure, letting you focus on your swing. * One Sonic Golf screwdriver (for changing batteries) * One roll of Sonic Golf installation tape – for installation of your SX-1. The roll is 30′ long to allow for many installations. * Batteries (pre-installed) * Instruction Booklet * Instructional DVD * One Sonic Golf travel case (to easily transport your system) Features * The Sonic Golf S1 technology is inserted inside the shaft of any club. * The swing motion is transmitted wirelessly to a belt-worn headset unit that converts your swing motion to continuous musical tones. * Slow swings are low pitch, quiet tones. * Swing faster and the pitch and volume gets higher. * With each swing you hear your rhythm and tempo, backswing/downswing transition, and the timing and speed of your clubhead release. * Tune in to each swing and immediately improve the next! How it Works All great golf swings have great rhythm, tempo, and timing. These essential factors allow the best golfers to move in harmony with physics, unleash huge forces and generate soaring golf shots. But how do you know if you have proper rhythm? How do you improve tempo and timing? How do you know if you are building good habits or reinforcing bad ones? The answer is the Sonic Golf S1! For the first time, you can literally hear the rhythm, tempo and timing of your swing, in real-time, as you swing, and tune in to the most fundamental success factors of the golf swing. The Sonic Golf S1 is simple, straightforward, and amazingly effective. Good golf swings sound good and bad golf swings don’t! Hear “casting from the top”. Hear jerky transitions from backswing to downswing. Hear the release of the clubhead before, at or after the ball. And hear the sweet sound of a smooth, fluid, rhythmic golf swing. In real-time. Every time. No matter your playing level or understanding of the mechanics of the golf swing, the Sonic Golf S1, developed by Yale physicist Dr. Robert Grober and based on cutting-edge science and modern learning theory, will help you make immediate and lasting improvements in your golf swing. If you are serious about improving your golf swing, you need the Sonic Golf S1. Testimonials System-1 has helped me tremendously. I always had a good rhythm, but I never had a consistent rhythm. It’s making my swing a lot more consistent, not just with the driver but the whole game. It’s one rhythm for the whole game instead of having a quicker rhythm for irons or slower rhythm for the driver. Vijay Singh, after winning the 2008 Deutsche Bank Championship Sonic Golf’s audio biofeedback helped students make dramatic and lasting changes to their golf swings in the space of 20-30 minutes that I previously would not have thought possible. Bill Greenleaf, PGA Master Professional, The Dunes at Maui Lani, Maui Sonic Golf helps golfers make the transition from mechanics to golf swing. Jerry King, PGA Teaching Professional, Kapalua Golf Academy, Maui People are going to take a look at this technology and say, ‘Wow, why didn’t I think of this before?’ Dr. Robert Winters, Sports Psychologist, David Leadbetter Golf Academy As an engineer I can appreciate the effort that goes into making something very complex seem so “simple”. The audio biofeedback allowed me to “feel” a better swing and to identify and change swing mechanics that are not accessible via video. Gene Walsh, Founder and President, Walsh Engineers, La Jolla, CA Sonic Golf provided me a different way of understanding my swing. Being able to hear the transition at the top of the swing allowed me to control it. Charlotte Mayorkas, LPGA Futures Tour I took my son to the driving range last night and asked him if he could believe how much Sonic Golf helped to improve my swing. He replied ‘I can’t believe ANYTHING could have helped that much! Daniel Shepard, Founder, CTO & President, Contour Semiconductor, Salem, NH Sonic Golf is what has been missing in golf instruction – the ability to teach timing and tempo – which is the glue that holds the whole swing together. Randy Burkhardt, Buick Golf’s PGA Teaching Professional
List Price: $ 399.95
Price: $ 399.95