Call for Crafting Civil (War) Conersations at MicKissick

We just saw the announcement of jurors for this competition and wanted to make sure  you'd all seen the call itself. Lifted this straight from the  USC - McKissick website. Deadline for images is October 31st. $25K up for grabs.

CALL FOR ENTRIES

Exhibition Concept

As the first state to secede from the Union, and the place from which the first battle shots were fired, South Carolina arguably started the Civil War.  One hundred and fifty years later, McKissick Museum at the University of South Carolina aims to end it with a juried exhibition of contemporary craft we hope will animate civil conversations about Civil War legacies.

A WPA-era building located on the University’s historic quadrangle, McKissick Museum stands in the company of the largest collection of slave-made structures on any campus in the United States.  These structures bear witness to enslaved African Americans’ artisan skill and manual labor.  They also provide a poignant backdrop for the Museum’s significant collections of 19^th-century, alkaline-glazed stoneware and sweet grass baskets, cultural forms intimately tied to the presence of African slaves in the region and now seemingly synonymous with the southern experience.  It seems fitting, then, that McKissick Museum commemorate the 150^th anniversary of the end of the Civil War on April 9, 2014, with a major exhibition that symbolically re-enacts the Civil War’s end as a scene of reconciliation—not between the North and the South—but between former slaves and former slave owners.

We seek entries from artists working in what historically have been regarded as craft-based media--clay, fiber, glass, metal and wood—who will imagine and give visual and sculptural form to this scene.  It is perhaps the scene that Martin Luther King conjured when he dreamt of a day when “the sons of former slaves and the sons of slave owners will be able to sit down together at the table of brotherhood.”

What kind of table might energize and sustain continued civic dialog about how the institution of slavery continues to shape southern life?  What kind of table, chairs, and table wares might bring people together to share a meal, share experiences, and speak candidly about the collective work that remains to be done?  Would the table be set with china, ceramic stoneware or wooden plates?  Would sterling flatware or oyster shells serve as eating utensils?  Would guests drink from glasses or gourds?  Would a tablecloth grace the table’s surface?  Do napkins or placemats define individual place settings?  Are there serving pieces on the table suggestive of the food traditions southerners forged and share?

In other words, what might the material culture of restorative justice look and feel like?

Awards

$25,000 in purchase awards will be given to prize winning artists and/or artist collaboratives.  Artists are welcome to submit images of an individual artwork conceived of as a component part of a scene of reconciliation OR to submit images of an installation with multiple components OR to collaborate with other artists to submit images of an installation with multiple component parts.

Timeline for Exhibition

March 31                    CALL for ENTRIES issued

October 31                  DEADLINE for submission of IMAGES of objects entered

November 30             ACCEPTANCE notices go out

December 15              DEADLINE for delivery of artwork at Museum

Feb 2-May 30             FEB 2, EXHIBITION OPENS

Eligibility

To participate, artists must have been born in, raised in (minimum one year), or be currently living and working in one of the states that joined the Confederacy:  Alabama, Arkansas, Florida, Georgia, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Texas, and Virginia.  This eligibility requirement ensures that the prize-winning artworks that will become part of McKissick’s permanent collection are aligned with the Museum’s collections policy.

Artists must work in craft-based media—clay, fiber, glass, metal, and/or wood.

Submitted artworks must have been completed since April 2011, the start of sesquicentennial commemorations of the American Civil War.

To be eligible for this juried exhibition, artists must be 18 years old on or before the October 31, 2014 submission deadline.

Artists must pay a $25 non-refundable entry fee.

Artists may submit up to five high-resolution digital images (minimum 300dpi/1MB) of artwork(s) for consideration to https://McKissickMuseum.slideroom.com.

All artwork/installations submitted for consideration should be able to fit in the elevator and/or be broken down into component parts that will fit in the elevator, the dimensions of which are 72”x48”x50”.  Designs for objects that will not fit these dimensions should be discussed with McKissick’s Curator of Exhibitions, Edward Puchner at 803-777-2515 or puchner@mailbox.sc.edu prior to production and/or submission.

The artist is responsible for transporting artwork juried into the exhibition to and from McKissick Museum.

Should an artist or artist collaborative submit for consideration an installation that includes digital media, that artist or artist collaborative will be responsible for providing the hardware (projector and/or motor) for the duration of the exhibition at McKissick.

Should an installation be juried into the exhibition, the installation artist or a member of the artist collaborative originating the work must be present one week prior to the opening of Crafting Civil (War) Conversations to assist Museum staff with installing the installation.

The artist’s or artist collaborative’s work must presently be wholly owned by the artist or artist collaborative.

Artists whose work is juried into the exhibition will receive and must sign and return to the Museum a loan agreement that will require the artist to loan the artwork for up to 3 years in order that the exhibit might travel to other venues.  McKissick aims to travel Crafting Civil (War) Conversations to a minimum of one venue in each of the states that joined the Confederacy to foster civil post-Civil War conversations regionally and nationally.  Hence, artwork juried into the exhibition needs to be available to travel for three years after the exhibit premieres in South Carolina.

Artworks juried into the exhibition may not be sold before the exhibition opens.

Artists may not substitute a different artwork for that juried into the exhibition.

Works must be original creations.  Gicleés and reproductions will not be accepted.

Wall-mounted works must be ready-to-hang (wired or include D-rings, screw eyes, or other hanging apparatus).

If the artwork requires any special mount(s) for display, the mount(s) must be provided at the time of artwork delivery.  Museum staff will furnish some standard risers/platforms for presentation purposes only.

Prize-winning artists must agree to transfer all ownership of and reproduction rights to the winning artwork to McKissick Museum On May 31, 2015.  Any sales of artwork in the exhibition will be considered pending until the exhibit closes at McKissick and prizes are awarded.  If prize winning artwork(s) were sold pending prize announcements, those pending sales will be voided once the artist accepts a purchase award.

Prize-winning artists must agree to grant McKissick Museum an irrevocable limited, permanent license to reproduce the artwork for the purposes of promoting the exhibition or McKissick Museum.

JURORS CONFIRMED FOR CRAFTING CIVIL (WAR) CONVERSATIONS EXHIBITION

Columbia, SC - The University of South Carolina’s McKissick Museum recently identified five distinguished museum professionals and academics with expertise in the craft-based media of ceramics, fiber, glass, metal, and wood to serve as jurors for Crafting Civil (War) Conversations, on display February 2 – May 30, 2015. This major exhibition invites artists who work in these various media to create artworks that imagine a scene of reconciliation between the descendants of enslaved people and the descendants of slave owners, all as a means to commemorate the sesquicentennial of the end of the Civil War.

The jurors include:

•           Carla Funk, Director & Chief Curator, Ruth Funk Center for Textile Arts, The Foosaner

Art Museum, Florida Institute of Technology, Melbourne, FL

•           Anne C. Currier, Professor of Ceramics, Division of Ceramic Art, Alfred University,

Alfred, NY

•           Albert LeCoff, Co-Founder & Executive Director, Center for Wood Art,

Philadelphia, PA

•           Jim Masterson, Shop Forman, National Ornamental Metal Museum, Memphis, TN

•           Diane C. Wright, Barry Curator of Glass, Chrysler Museum of Art, Norfolk, VA

Our hope is that this roster of jurors—including people with national and international perspectives on ceramic, textile, glass, metal and wood arts—will inspire even greater participation on the part of artists throughout the Southeast.  McKissick Museum will present $25,000 in purchase awards to prize-winning artists and/or artist collaboratives.

For more information, visit http://artsandsciences.sc.edu/mckissickmuseum or call Edward Puchner at 803-777-2515 or Ja-Nae Epps at 803-777-2876.

You Better Shape Up! Maddie Hammond talks about playing Sandy in "Grease," opening this Friday, Sept. 26, at the Village Square Theatre

Grease at Village Square Theatre is going to be  like no other show that you have ever seen before. Get ready to take a trip back to the 1950’s and see all the characters you love…Danny, Sandy, the Pink Ladies, the T-Birds, and even Eugene.  It all begins September 26^th,  and will run through October 12^th!

My hope is that it will just as awesome to see the show, as it is to be in it. For me, having the opportunity to play the role of Sandy is the most incredible experience in my 11 years of theatre.  It has been such a blast working with the amazingly talented cast and crew that put their whole hearts into every single rehearsal.  I am beyond thankful for this opportunity to portray Sandy, and I hope to make my directors very proud of the masterpiece that they are creating.    I started as “Little Indian Girl #2” in Annie Get Your Gun at Village Square Theatre eleven years ago, and I was bitten by the theatre bug immediately. I was playing soccer at the time when I did my first show, and I soon realized that I had a decision to make. Would I stick with the sport I had been playing for years with the girls I had been friends with for years?   Or would I risk it all, and pursue theatre wholeheartedly?  The decision was easy.   Theatre had stolen my heart, and my theatre career began.   Over the course of 11 years, I have somehow managed to be in 28 productions at Village Square Theatre, Town Theatre, and Workshop Theatre combined.   I am greatly humbled when I look back and think of all the memories I have made, all the people I have met, and all the knowledge I have acquired regarding theatre and life in general.  Theatre has helped me achieve self-discipline, flexibility, confidence, and an all around positive outlook on life that has helped me tremendously over the years.

Not only have I had the great privilege of performing on the Village Square Theatre stage, but Ms. Debra Leopard has so graciously allowed me to be an assistant teacher with the fall and spring acting classes as well as the summer workshop located at the theatre.

All of these wonderful experiences have lead to the auditions for Grease, and what an exciting time that was and still is! With every great show there are challenges, but with the intelligent direction of our director Becky Croft, and our insanely talented musical director Stephanie Nelson, we are able to perfect these iconic scenes. All thanks goes to them for bringing this amazing show to life through our characters and outstanding music. I look so forward to the curtain opening on September 26^th.

At the start of this new season, patrons will have the opportunity to see that Village Square Theatre has undergone some renovations that have given the theatre a whole new look and feel. We have just recently gotten brand new seats in the theatre, new carpet, paint, and bathroom and dressing room upgrades.  Also, this season will be Mrs. Barbara Bise’s 30^th season at Village Square Theatre, and what a blessing she is to all of us. We treasure her deeply and are very grateful for everything that she has done for us over the time she has spent at VST. We have a lot to celebrate, and be thankful for, this year at VST, and I am so thrilled to be a part of it.

~ Maddie Hammond

For more information on tickets, visit http://www.villagesquaretheatre.com/.  Show dates and times are:

Friday, September 26- 7:30 pm Saturday, September 27- 7:30 pm Sunday, September 28- 3:00 pm Friday, October 3- 7:30 pm Saturday, October 4- 7:30 pm Sunday, October 5- 3:00 pm Friday, October 10- 7:30 pm Saturday, October 11- 7:30 pm Sunday, October 12- 3:00 pm

"Vanya and Sonia and Masha and Spike" at Trustus - a review by Jillian Owens

Trustus Theatre turns 30 this season, and I can’t decide if this should make them or me  feel old.  As a Gen Y-er, they’ve done pretty well for themselves.  They have consistently pushed the envelope and made Columbia’s theatre audiences be a bit more daring.  They’ve survived tough financial times and have managed to thrive and expand -- both their physical space and their programming.  It’s all enough to makes this Millennial/Gen Y gal wonder what the heck she’s been doing with her life all these years...but I don’t care to think on that. I’ll think instead upon Trustus Theatre’s 30th season opener, Vanya and Sonia and Masha and Spike, the Tony Award-winning farce (for Best Play) by Christopher Durang.  I’m not the only one feeling old.  The play opens with Vanya (Glenn Rawls) -- a middle-aged man who’s out of the closet, but never manages to leave the house -- and his equally reclusive celibate adopted sister, Sonia (Dewy Scott-Wiley).  They’ve spent a great part of their adult lives taking care of their ailing Chekhov-loving parents (hence their names), and haven’t known what to do with themselves since they died.  Their days pass slowly, punctuated with bickering and gazing out at the blue heron that frequents their pond from their sitting room.  Their only visitor is their housekeeper, Cassandra (Ellen Rodillo-Fowler) who greets them daily with some terrifically plagiarized premonitions (“BEWARE THE IDES OF MARCH!”), and has a hankering for voodoo.

Their drab existence is in sharp contrast to that of their glamorous (though not as glamorous as she used to be) movie star sister, Masha (Vicky Saye Henderson.)  She’s been footing the bill for her siblings’ extended adolescence.  When Masha pays an unexpected visit to her family home to attend an influential neighbor’s costume party with her 20-something half-wit boy toy Spike (Jimmy Wall), tensions rise and long-stifled grievances are aired.  And when Spike starts flirting with a lovely young neighbor by the name of Nina (Stephanie Walden), you can probably guess there’s going to be trouble.

Vanya and Sonia and Masha and Spike is funny and clever, but not great amounts of either.  Director Jim O’Connor brings out the farcical elements of this play with plenty of campy moments and over-the-top embodiment of the characters by the actors, but it starts to feel tiresome by the end of the first act.  The pacing feels slow.  Durang’s script is rich with Chekhov (among other) references that are at first amusing, but once again, start to get old.  Durang has been funnier than this, and he’s been more touching than this.  The script just isn’t what it could be.

Thankfully, this production features some of Trustus’ best talents.  Henderson’s Masha is just as narcissistic, overly-competitive, and selfish as she can be, but there are moments where one can’t help but feel genuine pity for her insecurity.  Scott-Wiley and Rawls play off each other well as Sonia and Vanya.  Sonia runs the gamut of human emotions from profound depression to hysteria, and does a spot-on Maggie Smith impression to get out of feeling awkward at a party.  Vanya is definitely the gentler and more mild-mannered of the two, and is perhaps the most sympathetic character in the play.  Spike and Nina are fairly one-dimensional characters, and I found them both to be sort of annoying.  There isn’t much nuance to be found in either of these roles, but as an audience member, I wish Wall and Walden could have eked some out somehow.  Rodillo-Fowler thrived in her absurd role and earned the most laughs with the fewest lines as Cassandra.

While the vast majority of this play is a nutty comedy of (really terrible) manners, there is a thoughtful theme about it all, as tacked-on as it may be to the end of the second act.  Vanya begins to reminisce about the past, not resentfully as we’ve become accustomed to until now, but wistfully.  His musings become a rant, and then almost a call to action best captured in this moment:

“Now, now there’s Twitter and e-mail and Facebook and cable and satellite, and the movies and tv shows are all worthless, and we don’t even watch the same worthless things together, it’s all separate.  And our lives are… disconnected.”

It should feel hokey, but it doesn’t.  Perhaps it’s Rawls’ beautiful and heartfelt delivery.  Perhaps it’s just how this speech stands in stark contrast to the sillier lighter fare of the rest of the show.  But the catharsis that occurs as a result of this feels wonderfully genuine.   And that’s where Vanya and Sonia and Masha and Spike surprised me.

If you’re in the mood for something ridiculous that features some of Columbia’s best comedic talent, Vanya and Sonia and Masha and Spike will certainly do.  I look forward to seeing all that Trustus has to offer in this landmark season.

~ Jillian Owens

Goya's Los Caprichos etchings come to Lake City - opening September 20th

 

Francisco Goya’s Los Caprichos etchings, one of the most influential graphic series in the history of Western art, will be presented at the Jones-Carter Gallery in Lake City, South Carolina from Saturday, September 20, 2014 through Saturday, January 3, 2015.  This exhibition features a superb first edition of the complete set of 80 etchings, which by tradition was one of the four sets acquired directly from Goya in 1799 by the duke of Osuna. It then came into the hands of Pedro Fernández Durán, of the house of the marquis of Perales, the greatest Spanish collector of the 19th century and a major donor to the Prado. His collector's mark appears on all 80 prints of this set.  The exhibition includes an essay contributed by Robert Flynn Johnson, Curator in Charge, Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco.

Other works by Goya are also included in the exhibition for instructive comparison including a few later edition prints from Los Caprichos and examples from each of Goya's other major graphic series: Los Desastres de la Guerra, Los Proverbios, and La Tauromaquia; and his early etchings after Velasquez. Additionally, to demonstrate the broad influence of Los Caprichos, the exhibition includes a 1920's drawing after Los Caprichos plate 51, "Se Repulen," by Edward Hagedorn, as well as eight etchings by contemporary artist, Enrique Chagoya, entitled, "Return to the Caprichos."

In his original essay for the exhibition, Robert Flynn Johnson takes a fresh approach to Los Caprichos. Johnson has also undertaken an enlightening comparison between three contemporary interpretive manuscripts on the etchings—the “Prado,” the “Ayala,” and the “Madrid Biblioteca Nacional,” adding his own illuminating observations to each of the eighty plates. Additionally, Johnson ‘fast-forwards’ from Goya’s major opus to contemporary relevance in the work of two artists working in the 20th century—Edward Hagedorn and Enrique Chagoya.

Enigmatic and controversial, Goya's Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain. Influenced by Enlightenment thinking, the painter set out to analyze the human condition and denounce social abuses and superstitions. Los Caprichos was his passionate declaration that the chains of social backwardness had to be broken if humanity was to advance. The series attests to the artist's political liberalism and his revulsion towards ignorance and intellectual oppression; at the same time it mirrors Goya's ambivalence toward authority and the church.

Los Caprichos deals with themes such as the Spanish Inquisition, the abuses of the church and the nobility, witchcraft, child rearing, avarice, and the frivolity of young women. The subhuman cast of Los Caprichos includes goblins, monks, procuresses, prostitutes, witches, animals acting like human fools, and aristocrats; these personages populate the world on the margins of reason, where no clear boundaries distinguish reality from fantasy.

The Jones-Carter Gallery is open Tuesday through Friday from 10AM to 6PM and Saturday from 11AM to 5PM.  Admission is FREE.  Large groups are encouraged to call ahead.  On September 20, the gallery will be open from 10AM to 8PM.  Guided tours will be available for school groups 6^th grade through 12^th grade.  Please call the gallery at 843-374-1505 for additional information.

Meet this year's Jasper Interns

We've got a pretty great group of interns this season -- you've probably already seen them around town delivering Jaspers, helping out other arts organizations, or just in the audience at an event, doing their part to help build and support the Columbia arts community. Some of these guys are artists themselves. Haley Sprankle, for example, will be singing the lead in Town Theatre's Oklahoma this fall. Others are exceptional writers, like Kirby Knowlton, Abby Davis, and Caitlin McGuire (both Abby and Caitlin have work in the current issue of Jasper) while Nick Black is a gifted graphic artist and Annie Brooks teaches Bikram yoga. We're pretty psyched to be able to welcome this fine group of artists and arts lovers to the Jasper family. If you do see them around town, we hope you'll welcome them, too

Meet The Interns -- aka TEAM JASPER

Annie Brooks is a graduate of The University of South Carolina, a Bikram Yoga teacher, and a lover of arts and travel. Post graduation she worked for the Gibbes museum and City Gallery in Charleston. Recently she has returned from Los Angeles where she completed the nine weeks long certification program to become a Bikram teacher. She currently teaches at both Columbia studios. She is enthusiastic about consuming as much art as possible, and prizes her collection of exhibition tickets. Annie believes there is no better way to spend an afternoon than wandering galleries and museums, enjoying the visitors reactions and opinions just as much as the art itself. She feels privileged to contribute to the production of Jasper magazine, especially in a time when the Columbia arts and music scene is really taking off. She is of the belief that art is one of the few universal interests; it can span border lines and language barriers, bringing people together like nothing else.

Nick Black is a 20-year-old junior graphic artist from Columbia, SC. He attended Spring Valley High where he became involved in the arts; in 2012 he graduated as a National Art Honors Student. Also during his high school years he joined the NiA Company where he worked as an actor, assistant stage and sound director. Nick continues to provide assistance to the NiA Company in the area of graphic design. Currently he is pursuing a degree in Graphic Design at The Art Institute of Charlotte, where he is working as a student representative for Adobe Programming.

Haley Sprankle is 18 years old and is a freshman theatre major at the University of South Carolina. Although she was born in Denver, CO, she is a southern girl by heart. She recently graduated from Dutch Fork High School as an honor graduate, as editor of her yearbook, and received the Palmetto Fellows scholarship for her academic achievements. She is currently playing the role of Laurey in Oklahoma at Town Theatre while also teaching dance for Christy Mills at the SC Music and Dance Academy. Her favorite visual artist is Andy Warhol, her favorite author is Kate Chopin, and her favorite film is Breakfast at Tiffany's. She looks forward to being a part of the Jasper team this year and is so thankful for this wonderful opportunity!

Abby Davis studies English and philosophy at USC.  She is twenty years old and finishing her final year of undergrad.  Abby has written book reviews for the South Carolina Center for the Book and was the editor of her high school's literary journal.  Her favorite film is Moonrise Kingdom and she adores David Foster Wallace. 

Caitlyn McGuire has a passion for the arts-music, dance, and most importantly, writing. This fifth year journalism student at University of South Carolina got her start in the arts in her hometown of Sandwich, Massachusetts on Cape Cod where she studied voice, and piano, ballet, tap, jazz and Irish Step dancing. The 22-year-old has grown an intense appreciation for the art, which led her to focus her writing style in journalism on just that. She started her journalism career outside of the classroom working for UCS’s newspaper, The Daily Gamecock, in the art’s and entertainment section, alternatively named the Mix section. She eventually went on to be the editor of the Mix and wrote feature articles for the school’s magazine, Garnet and Black. Aside from her nearly four years with The Daily Gamecock, she has been the social media intern for the Columbia Museum of Art, an editorial intern for the Columbia Regional Business report and most recently an editorial intern for culture magazine Cape Cod Life, where she published her own ten-page spread including her original photography. Set to graduate in December, she hopes to continue on with magazine writing and photography in arts and culture.  When she’s not listening to a new favorite band or exploring what’s playing at the Nickelodeon, she is discovering pieces by her favorite artists, Norman Rockwell, repeatedly reading works by Jane Austen, or watching her all time favorite movie, The Wizard of Oz.

Kirby Knowlton has lived in Columbia, South Carolina for as long as she can  remember. She is eighteen and a freshman advertising major at the  University of South Carolina. She has won several Scholastic gold medals for writing. Her favorite author is Frank O'Hara and she has a crush on every leading actor in Butch Cassidy and the Sundance Kid.

"Oklahoma!" opens this weekend at Town Theatre - a preview by August Krickel

Oklahoma!  - yes, the exclamation point is part of the title - is one of those those shows that everyone knows by heart - or do they?  It's part of our shared cultural heritage, and most of us can probably sing the first line or two of the title song, since it actually begins with the title.  You know, "O-o-o-o-o...klahoma, where the... something something goes something something..." and that's where our memories start to cloud.  It's actually now  the official state song of Oklahoma. A few of us may also connect the familiar song "Oh What a Beautiful Morning," to the musical, and might even know the next line "oh what a beautiful day," and the basic tune. We may even have heard or used the expression about the corn being "as high as an elephant's eye," whether or not we knew its source. Having been a mainstay of high school and community theatre repertoires for decades, Oklahoma! is something we all know backwards and forwards.

Or is it?  I fell into that trap too, realizing only recently that I have never seen the show live, and to my knowledge have only seen the famous film version once, when I was in 5th grade or so.  And in those days I was much more interested in spotting the mom from The Partridge Family  (i.e. Shirley Jones) in the lead, playing opposite the real-life father of one of the girls from Petticoat Junction (i.e. Gordon MacRae, father of Meredith), with Mr. Douglas from Green Acres (Eddie Albert) providing comic relief.  Then I realized that for years, I've been mistakenly thinking one of the big hits from the show, "People Will Say We're in Love," was from South Pacific!  That's not too bad a lapse, though, since the same composers, Richard Rodgers and Oscar Hammerstein II, wrote both.  Along with Sound of Music, The King and I, and the tv Cinderella. Wait, the same guys wrote all of those?  Exactly.  Meaning that Oklahoma! may be worth a little more attention than we might naturally be inclined to give something that we think is so familiar already.  Especially since it's opening at Town Theatre in just a few days, featuring some of Columbia's top talent.

Would you believe Hugh Jackman - yes, The Wolverine - starred as the lead, heroic Curly the cowboy,  in a London revival in 1998?  Yep, he was doing big musicals long before the film of Les Miserables. When that version transferred to Broadway in 2002, Curly was played by Patrick Wilson.  Yes, the second Nite Owl in Watchmen!  That revival was nominated for many Tony Awards; the Tonys didn't exist yet when the musical first came out in 1943, but it's a frequent nominee and winner whenever it's revived. Harry Groener was even nominated for a Tony as Will (the juvenile love interest in a subplot)  in a 1979 revival, and yes, that's the guy who later played the evil Mayor of Sunnydale on Buffy (well golly!)  so there's that.

So why is Oklahoma! such a big deal?  The music of Rodgers and Hammerstein is certainly a large part.  This was their first collaboration together, after many hits with other writing partners. How it came into being is fascinating though. The story was originally a non-musical play from 1930 called Green Grow the Lilacs, that wasn't a big hit, even though it was about settlers in Indian Territory only a few decades removed from when that was actually happening, and even though there was serious star power in the cast:  future film star Franchot Tone as Curly,  future country music star Tex Ritter (yes, father of John!) as a cowpoke, and Lee Strasberg (yes, the Method acting teacher, and Hyman Roth in Godfather II !) as a comic peddler.   Producers saw a summer stock production of Lilacs, years later, that incorporated authentic square dancing and folk music from the period/locale, and thought this might make a better musical than straight play.And boy did it.   It ran for more than five years, a  record for Broadway in those days, unbroken for twelve years, and was awarded a special Pulitzer Prize. And this was right in the middle of World War II, when there were plenty of other things on the public's mind, and not a lot of disposable income for entertainment.  The two biggest components that both critics and audiences raved about then, as now, were the way in which the songs and dances became an integral part of the story-telling process - previously musicals often just stopped the action long enough for the leads to break into song, as a chorus entered to back them up - and an unheard-of extended ballet sequence (it's part of a dream that plays out live on stage) choreographed by Agnes DeMille, one of the titans of the dance world in those days.

So that's the show.  What's special about this production?  I'd say the people - lots of good folks that Jasper loves are in this one.   Frank Thompson directs - he's better known as a prolific comic actor, appearing as everyone from Captain Hook in Peter Pan to Igor in Young Frankenstein,  but he has directed shows like Chicago and A Christmas Story at the Kershaw Fine Arts Center,  Ho Ho Ho at Columbia Children's Theatre, and 9 to 5,  Stand By Your Man, and South Pacific at Town Theatre.  Plus he brought his Chicago cast to perform at the first even Jasper ever held at the Arcade, back in early 2012.   I had just recently met him, after reviewing him in Forever Plaid: Plaid Tidings, and making some wisecrack about how ironic hipsters from the Whig would douse themselves in lighter fluid and look for lighters rather than sit through that show's wholesome Christmas music... and he still thought he got a good review!  Well, he did, after a fashion.  Christy Shealy Mills choreographs, and we interviewed her last spring for this blog; you can still read all about her here. Daniel Gainey is music director, and he's done outstanding work as both actor (in In the Next Room at Trustus and Legally Blonde at Workshop) and as music director for shows like Songs for a New World and Camp Rock the Musical at Workshop. Lori Stepp is costumer,  Danny Harrington is scenic designer, and we profiled  him in the July 2012 issue of Jasper - there's an expanded version of that story here.

Then there's the cast. Heroine Laurey is played by Haley Sprankle.  Yep, one of Jasper's new interns, whose work has already appeared on this blog twice in the past week.  The first time I ever saw her on stage was in the ensemble Dirty Rotten Scoundrels; as the curtain opened, she and several other dancers were frozen in place, and her extension went up to Mars.  A few months later I wrote of her in Grease:   "She has one of the stronger voices in the cast (you can always tell where she is in group numbers) and is one of the better dancers as well. Add comic timing to that, and Sprankle is a remarkable triple threat."    Two years after that I wrote this about her performance in Biloxi Blues:  "Winsome Haley Sprankle shines as Daisy, the adorable sort of red-headed Catholic school girl that we’d all go fight Hitler for in a heartbeat."  In other words, I was a fan long before she came aboard the Jasper team.  Bryan Meyers, who was in the cast of Les Miserables (winner of the Free Times Best of Columbia award for best production) plays Curly opposite her.  Will Parker, the second lead, is played by Parker Byun, who's done good work in plenty of shows recently, including playing the lead in Tarzan the Musical last year.

But wait, there's more!  Haley's father Rob Sprankle, who joins Jasper as a staff photographer in the issue that comes out in about 48 hours, plays the peddler Ali Hakim.  He's had roles ranging from the King in The King and I  to Caractacus Potts in Chitty Chitty Bang Bang. Opposite him (in a triangle with the Will character) as Ado Annie  is Sirena Dib, seen as Fiona in Shrek the Musical this past spring, as the lead in Cinderella at Workshop, and as Martie in Grease when Haley Sprankle was playing Frenchy, and Frank Thompson was Vince Fontaine.   She too will be joining the Jasper staff, plus we featured her in the centerfold of the November 2012 Jasper,  along with some other talented young performers.  That same issue also profiled Will Moreau, who plays Annie's father. Other principal roles include Kathy Hartzog as Aunt Eller,  Kevin Loeper as Jud Fry, and Kristy O’Keefe dancing the ballet role of Dream Laurey.

And that, parders, is why I think Oklahoma! is worth checking out. Good people, good material, and the chance to see it done live.   Oklahoma! opens this Friday, September 19 and runs through October 11;  Thursdays through Saturdays are at 8 p.m. and Sundays at 3 p.m.  Tickets are $15-25 and may be purchased by calling the box office at 799- 2510. For more information, visit www.towntheatre.com.

 ~ August Krickel

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Music at the Rosewood Arts Festival by Annie Brooks

The Rosewood Arts Festival is a day of family friendly fun centered around the celebration of music and art. Hosted by Rockaway’s Athletic Club, the festival is in its fourth consecutive year. From 10 am to 6 pm there will be two stages featuring music from various genres. This year has gathered Chase Asmer, Dreher High School Chorale, Tom Hall and the Plowboys, the SC Philharmonic Orchestra Musicians, and the Tonya Tyner Trio. There will be something for every ear to enjoy.

Of the musical talents he has brought together to perform at the festival, creator Arik Bjorn said, “I know one thing, and that’s that this is the best group of Columbia musicians and entertainers you’re going to find in a single place on a single day this year.”

The various musical groups participating are just as passionate about the event.

The SC Philharmonic has been a returning presence to the festival. This year they will be represented by two small ensembles on either stage; a string quartet and a wind duo. Executive director Rhonda Hunsinger said, “We are excited that the SC Philharmonic has been a part of the Rosewood Arts Festival since its inception. The festival has done a wonderful job of making sure a wide variety of musical genres is represented, from contemporary to classical. The Festival gives the SC Phil a great opportunity to share classical music with the public, and introduce it to those who may not have ever attended an SC Phil performance.”

This will be the second year that Tonya Tyner has played with a group for the festival. She is proud to be a returning artist to a festival that brings so many different components of the arts community together. Thrilled with the group she has joining her, Tonya will play guitar, along with Brodie Porterfield, and L.J. Errante on the mandolin. All of their songs are original and offer a folky bluegrass vibe. Tonya also offered that the festival is a great way to meet the artists and discuss their art.

It is not often that one is given access to such rich talent for no cost of admission. The Rosewood Arts festival is a wonderful opportunity to be submersed in local art and music. There will be entertainment all day with crafts, face painting, and good food as well. It is a free event cohosted by Rockaways Athletic Club and the Trenholm Artist Guild, held at Rockaways (2719 Rosewood Drive) on September 20^th from 10 am to 6 pm.

Recap: Jasper Goes to Hopscotch 2014

Each year, just a few short hours away from Columbia, one of the premier underground, experimental, and independent rock festivals takes place in the form of Raleigh’s Hopscotch Music Festival. It’s a startling epic and eclectic undertaking, with 170 acts playing on a dozen stages over the course of three evenings, plus hundreds of more bands playing the increasingly crowded collection of pre-, post-, and day parties that have emerged to create a marathon-like live music binge for as long as you can keep going. While relatively few South Carolina bands took part this year (ex-pats Octopus Jones, who moved to Raleigh last year from Myrtle Beach, were the only local connect with an official slot; Cancellieri and The Mobros, both of Columbia, played day parties), a bevy of North Carolina talent took the stage right alongside a menagerie of characters from the various fringes of the music world.

The most recognizable names on the bill each year are the City Plaza headliners--this year, De La Soul, St. Vincent, Spoon, and Mastodon--and some indie rock marquee names will always be sprinkled throughout (War on Drugs, Thurston Moore, Phosphorescent, Sun Kil Moon, and Jamie XX in 2014), but the real appeal of the festival lies in the sensory overload and the sense of surprise and discovery as each days unfolds. A complete rundown of the experience of one person couldn’t possibly capture the spirit of the festival, so, in lieu of throwaway lines about each of the forty-some bands I encountered this year, here are a few sets that stuck out.

De La Soul @ City Plaza

Although I couldn’t escape the sense that these guys were now unmistakably dad-like, there’s also no denying that they can still put on a hell of a show. Celebrating the 25th anniversary of the release of the seminal 3 Feet High & Rising, the trio was full of energy and embraced the traditional role of emcees with vigor, engaging frequently with the crowd with big smiles and playful asides. The fact they were performing on a huge outdoor stage at an indie rock festival in the South also seemed to be noteworthy, and the trio seemed especially cognizant of the fact--they even pulled some North Carolina MCs on stage to share in the moment.

Last Year’s Men @ Pour House

A Carrboro, North Carolina garage band that I wasn’t terribly familiar with, these guys put on a blistering show at the Pour House on Thursday night. Alternating between blistering up-tempo numbers that reminded me of The Libertines and a literal hopscotching of styles that ranged from the psychedlic-tinged garage rock of the 13th Floor Elevators to the shambolic alt-country of fellow Triangle favorites Spider Bags, this is the kind of rock and roll I can get behind.

The War on Drugs @ Lincoln Theater

Yes, the live show is a startling good approximation of what Adam Granduciel puts on record. But that’s okay when you’ve put out one of the best records of the year and take such obvious delight in resurrecting classic rock grandiosity for the indie rock set.

Little Black Egg Big Band @ King’s Barcade

This somewhat under-the-radar collaboration between the members of Yo La Tengo (Ira Kaplan, Georgia Hubley, James McNew), William Tyler, Steve Gunn, and Letha Rodman Melchior (who provided pre-recorded material) looks on paper like its gonna be a sprawling guitar fest, particularly when everybody save McNew walks on stage with a guitar. However, what actually occurred was a far odder and more mesmerizing experience.

While McNew manipulated Melchior’s pre-recorded material with a bevy of pedals and electronics, the four guitarists created a feedback driven soundscape that saw them blending their individual parts and only occasionally giving in to the urge to break above the din with a few pointillist notes. It was a noisy, beautiful experience as the five musicians worked off the undulating rhythms and sonic base that McNew provided to build to moments of pure cacophony that recessed into something more reserved although no less chaotic.

Oh, and this happened during a day party around lunch hour. My active imagination likes to believe somebody in the crowd slid into King’s during their lunch break to catch a taste of Hopscotch, and this is what they got.

St. Vincent @ City Plaza

In my Twitter feed this performance got comparison to both Madonna and Thurston Moore. The SAME SET. While I could do without the hand gestures (which worked, but were hardly earth-shattering) and the odd monologue, Annie Clark has a Prince-like range and performance ability. The mix of crunchy, synth-driven indie pop songs along with dreamier and noisier digressions throughout the set had the crowd eating out of the palm of her hand.

Spoon @ City Plaza

I heard a lot of murmured derision about Spoon as a headliner. Something along the lines of the group being a bit too “vanilla indie rock” for the adventurous ethos of the festival. And while I would have described myself as a casual fan, at least prior to this year’s excellent LP They Want My Soul , I loved this set. The band is very much “just” a rock band, but frontman Britt Daniels has just enough rakishness to engage a crowd and they’ve always been first-rate musicians. Hardcore fans, in fact, seem to focus on small moments and licks at the expense of the long view of their songs. Even still, Spoon has racked up quite a few amazing tunes over the course of eight full-lengths, and the set had a very “greatest hits” sort of feel even as they cherry picked the best from the new album. In other words, if you weren’t enjoying it, you might have been trying too hard.

Open Mike Eagle @ Pour House

I saw a lot of great hip-hop at this Hopscotch, but Open Mike Eagle wins for just how damn good his writing is. Both self-reflective and wildly funny, the LA-based rapper made the most of his offbeat persona by wearing a backpack and having a number of talismans on stage with him. But really, with odes to qualifiers and references to House of Cards and comic books, I’m not sure he needed anything but the songs themselves. Check out his excellent new LP Dark Comedy.

Gems @ CAM Raleigh

Also from LA, this pop duo can at first glance seem like they are gliding by on sex appeal, but their swirling and shrouded dream pop tunes proved to be consistently good as the two created a drugged out mix of the xx and Beach House, all loaded down with reverb and ethereal vocals. It was entrancing, particularly in a the chic confines of Raleigh’s art museum.

Sun Kil Moon @ Lincoln Theater

This was by far the BEST set to hang out and talk to friends at.

Kidding. Obviously the wrong venue for the mercurial singer/songwriter, but at least I got this t-shirt out of it.

Hi Ho Silver Oh @ Pour House

One of my favorite random finds of this year’s fest, I was actually at Pour House to catch a lot of the acts that came after them, but this set stuck with me. The group alternates between giddy guitar sprawls a la Pavement, but more tightly wound and poppier and more languid, beautifully melancholic material. A four piece with vocal talent to spare, the harmonies were infectious, and the slowed-down-to-a-crawl take on Tom Petty’s “Time to Move On” was priceless.

Caitlin Rose & Phil Cook @ Pour House

These guys were ridiculously fun and informal with each other in addition to being a perfect musical balance. Cook showed off his virtuoso guitar skills on a few old blues and folk cuts and originals, while Rose’s well-honed country tunes and blow-the-mic-out vocals were equally pleasing. It was their rapport with the audience that stands out most though-- they shouted out trivia-like questions between almost every song (for instance, name the three best mullets of all-time) and gave off the kind of living room vibe that was so sorely lacking from Sun Kil Moon’s set the night before.

Loamlands @ Pour House

I loved Kym Register’s old band Midtown Dickens, so I was pretty excited to catch her new rock outfit Loamlands at this year’s Hopscotch. Part of the appeal of MD was the effervescent performance style of Register and childhood pal Catherine Edgerton, something that shines through in Loamlands, despite its more controlled and professional style. Register remains a solid songwriter, and the pretense-free Southern rock she and the band throws down feels so very “North Carolina.”

Mastodon @ City Plaza

Love ‘em or hate ‘em, there’s no denying that these guys have a pretty epic sound. While I’m not really familiar with their albums, this blistering set had me convinced that metal is really best experienced in a live setting, where the sheer physicality of the style comes through and the music is as loud as its meant to be.

Madison Jay / Well$ @ The Hive at the Busy Bee

Although these two MCs were pretty different from one another, the sense of how good local rap music is in NC came through with their back-to-back sets in this tiny room. Madison Jay has a bit of an old-school production sound to his jams, and he played that up a bit by coming dressed in a trendy three-piece suit. Well$, on the other hand, was all live wire energy that did little to impair his powerful flow, and the live accompaniment of a drum kit and saxophonist was a powerful demonstrated of how “real” and spontaneous live hip-hop can be.

Phosphorescent (solo) @ Fletcher Opera House

Matt Houck is another guy on the bill I’ve always been a fan of, but usually he performs with a full band. This set, with Houck accompanying himself on electric guitar or piano, was unimaginably poignant and direct, despite the singer/songwriter’s aw-shucks demeanor. Houck has one of those inimitable voices that can deliver simple lines with heartbreaking immediacy, and he knows how to play looping, reverb, and the natural acoustics of a room like Fletcher to maximum effect. It was a beautiful, wonderful way to close out my festival experience.

What Cheer! Brigade

...except this wild band of ruffians were on the streets outside of King’s as I rode pass. This punk-inspired marching band-turned-street performers had been spotted throughout Raleigh over the last few days spreading their gospel with the zeal of missionaries, and their adrenaline apparently peaked at the close of their official festival set sometime after one in the morning. The look on their faces was a priceless mix of absolute fatigue and pulsating excitement as the crowd cheered them on past the point of exhaustion. And THAT’s how a music festival should end.

For a full slideshow of photographer Jonathan Sharpe's Hopscotch 2014 photos, click here.

Listening to Devereaux at The Whig - by Annie Brooks

LAST WEEK:  It's Wednesday night at the Whig. It is really no different from any ordinary night; a moderately sized crowd, grouped together at their respective tables, sipping craft beer in a relaxed atmosphere, music padding the spaces of conversational lull. Yet tonight is exceptional though because it is a designated "Listening Party" and the band on rotation is sitting among the civilians, eating dinner and talking with anyone who cares to talk. Will Green, who is tending bar tonight, came up with the idea as a way to showcase local music. They feature one band every Wednesday, with the setup varying each time. Occasionally the band will bring a playlist of music they like, and then have their album play afterwards, or they will let their whole body of work be played in a single evening.

Patron participation is completely optional. Visitors can choose to speak with the band, engage in conversation about their music, or keep to themselves. Thus far the Whig has featured Dear Blanca, Stefanie Bannister, Muscle Memory. This night, Those Lavender Whales is up for observation. They occupy the table directly in the center of the bar, shrouded by dim lighting and the overwhelming smell of pizza. The first song off of their second album Tomahawk of Praise is playing. Aaron Graves is singing through the speakers, while Aaron Graves is simultaneously here in the flesh, finishing a chicken sandwich. The structure of the evening is so relaxed that patrons need not fear bothering the band by approaching them. It is almost expected. They are very nice and quick to share their influences, inspirations, and their positive thoughts on the Columbia music scene.

THIS WEEK:  This week will be a close listen of Devereaux.

"In the corner of an intersection where the debris from a car wreck between Kraftwerk, Trans Am, Battles, Air, and Daft Punk is partially scattered, you can find the sound of Devereaux. Not quite analog, yet not exactly electronic, Devereaux is the sound of W. Heyward Sims: a boy who grew up perfecting Led Zeppelin riffs in front of his Emerson CD player in the early 90s, now a man who laments the demise of the answering machine.

Pineapple Flex is the full-length follow up to 2012's popular Cacti Pace EP. Bigger, bolder, sexier, tastier- Pineapple Flex propels the razor-sharp sound of Devereaux into exciting new directions.

TRACKLIST:

01. Ponytails

02. Bikini

03. Hatchets

04. Rendezvous

05. Sell the Rose

06. CoastsaoC

07. Xenodehuir

08. Azucar

09. List It

10. Costarricuense

11. Next to Neon

12. Fashion for Sharks

These Listening Parties will continue to happen indefinitely.  They should be attended by lovers of local music, and those wishing to make listening to and talking about music an independent activity once again.

Palmetto Opera, Lowe, Lenz, Krajewski & McClendon all help Jasper celebrate its fourth year of publication - Thursday Night!

We’re starting our fourth year of bringing Columbia in-depth local arts coverage in theatre, dance, visual arts, literary arts, music, and film, (and we’ll be adding design soon), and we’re celebrating with a multi-disciplinary release celebration to kick the year and the arts season off right.

Please join us on Thursday, September 18^th at 5 pm at Vista Studios – Gallery 80808 at 808 Lady Street as we welcome the new issue of Jasper Magazine.

Classical oil paintings by internationally renowned realist Tish Lowe will set the stage in the main gallery.  Palmetto Opera’s artistic director, Walter Cuttino, will lead a one-night-only performance of highlights from Puccini’s La Bohème, hits from familiar musicals such as Phantom of the Opera and Carousel. .

The atrium will showcase a collaborative installation by fiber and installation artist Susan Lenz, who was Jasper’s 2012 Visual Artist of the Year and artist Michael Krajewski, who was Jasper’s first centerfold.  Their work, Threads: Gathering My Thoughts, will be a manifestation of the mental images and ideas that naturally flow through the human mind while engaged in the viewing of La Bohème.  Lenz’s tangle of unraveled, old threads will cascade in and out of suspended baskets mimicking the colors, complex plots, and emotions of a performance. Krajewski’s bohemian, pencil graffiti will literally express the connections between the visual, musical, dramatic, literary, and poetic world of a bygone, operatic world still dancing in the twenty-first century mind.  The arts exhibition will remain on view through Tuesday, September 30^th.

Jasper adores the film Wade Sellers, our beloved film editor, made for Susan Lenz -- you can watch it here - and you should because it's really lovely.

Following the presentations by Palmetto Opera, multi-talented musical artist Tim McClendon, who is also featured in this issue of Jasper Magazine for his design work, will perform an impromptu set of music.  One Columbia will also be on hand to kick off their Cultural Passport program as will the Rosewood Arts Festival and the Jam Room Music Festival to share information about their upcoming events. The event is free and open to the public.

Show Preview: Washed Out Plays Benefit Show for Aaron Graves at the Columbia Music Farm by Caitlyn McGuire

To the dreamers, the explorers, those who sink their minds fully into what’s coming out of their headphones and let the music take them to an entirely different place, we’ve got the soundtrack to your life. The music of Georgia-based artist Ernest Greene, who records under the name Washed Out, is a unique blend of soothing vocals and flowing rhythms along with cool electronics and the sounds of almost unrecognizable instruments.  The title of Washed Out’s most recent effort, Paracosm, references an imaginary world that’s created inside one’s mind, takes listeners on a full journey to escape reality. It’s an appropriate allusion given the immersive effects of the music contained within.  Although each song is brilliantly different than another, the theme of escaping is apparent in every carefully written lyrics and tune, allowing the listener to continuously drift away. Even the music video for their single “Weightless” maintains this aesthetic, allowing listeners to completely disconnect from the real world and delve into the one created by Greene.

And if we haven’t obsessed over Washed Out enough, his upcoming show on September 16 at the Music Farm Columbia is full of additional good local vibes and connections. Greene and his live band, which features Columbia musicians Chris Gardner (bass), Cameron Gardner (drums), and Dylan Lee (guitar), is paired with the quirky indie folk-pop of Those Lavender Whales and the sly singer/songwriter Keith Mead, two of the city’s finest young talents. The show is also for a good cause as well. Earlier in 2014, Those Lavender Whales front man Aaron Graves was diagnosed with a grade 2 brain tumor, causing the Columbia music scene to band together to help Graves and his family. All the proceeds from Tuesdays show will go to Tumor-Schumor, Graves’ effort to raise funds and support for his life-threatening illness. On tumorschumor.com, fans and friends can keep track of Graves’s progress through his blog, donate and learn more about the cause. If there’s one show to go see at the Music Farm in the near future, this is probably it. Good music plus a great cause is reason enough to see these musical minds in action.

Tuesday’s show is at the Music Farm, 1022 Senate Street. Tickets are $15-$20, doors open at 8 p.m. and anyone 16 years and older is welcome.

To donate to Tumor-Schumer or follow along with Aaron Graves’ journey, please visit tumorschumor.com

--Jasper Intern, Caitlyn McGuire

Five Guys Named Moe: Workshop Theatre Opens New Season at 701 Whaley - by Haley Sprankle

New beginnings spark for Workshop Theatre as they open their 2014-2015 season with the  jukebox musical Five Guys Named Moe.   The biggest change the company is facing is their new  performance location in The Market Space at 701 Whaley Street.

"Five Guys Named Moe is the first production in this new space," says the show's director, Lou Boeschen.  "No precedents have been set indicating how we should transform this completely empty space into an intimate theatre. This  can be both good and bad. You are open to think outside the box and set the stage any way you  like, but you don't have the experiences of a prior production to show what works or doesn't  work in the space.”

This new space opens up vast opportunities for inventive, fresh new staging opportunities, which add a new level of artistry that audiences may not have seen at Workshop before. Each director is able  to completely create his or her desired environment, allowing a lot of liberties with blocking and  staging.

“When I first started to visualize Five Guys Named Moe, it was difficult not to see it in the  familiar setting of Craft Auditorium at the corner of Bull and Gervais Streets," said Boeschen.  "After meeting with  set designer, Lee Shepherd, I was able to quickly adjust my thinking. I came to Lee with several  ideas about how I wanted the stage area to be arranged with different levels and a dedicated  place for the band. He took those ideas and, using his expertise for building a set off-site and  moving it into a performance space, came up with a fantastic design.”

Not only will the new space be created to fit the musical and the vision that Boeschen has, but it also  must accommodate a live band, which is not always the case with every theatre.   “There will be a live band led by our musical director, Roland Haynes, Jr. He's assembled a quintet of  talented musicians, a few of whom he plays jazz gigs with regularly," explained Boeschen. "The music is the core of this  piece, a character in a sense. It is important to me that the band be a part of the action on stage.  From their bandstand on the right side of the stage area, the cast members are able to interact  with Roland and the other musicians.”

The cast has been rehearsing in the Workshop Theatre rehearsal space on Elmwood Avenue, and will be able to  move into the theatre just a short four days before they open.

“Throughout the rehearsal process, I referred to the ground plan design often when explaining  blocking and spacing to the cast," Boeschen recalls.  "The cast is using some of the smaller set pieces already in the  rehearsal space, which is not much smaller than the area that will be set as a stage at 701  Whaley.  Joy Alexander, the choreographer, has worked hard to create perfect choreography for  this style of show, but she has also kept it very flexible. The first night on the set, Sunday, will  be used for blocking and adjusting choreography spacing. I am anticipating needing to  make a few adjustments, but nothing major,” said Boeschen.

Along with all the adjustments and accommodations that the theatre faces as they debut in their  new performance space, Boeschen will also debut as a director.

“I felt it was time to get my feet wet and direct a show. I didn't want to tackle a huge musical  production my first time at the helm, however, so a small revue-style show seemed like a good  starting point. I submitted my interest to direct and was chosen by the play selection committee  at Workshop to direct Five Guys Named Moe. I love Louis Jordan's music, and the story written  by Clarke Peters that connects the songs is genuine,” said Boeschen.

Although Workshop has produced Five Guys Named Moe before, this new cast brings a fresh  take on the musical.  “There are a couple of names and faces in the cast that audiences will recognize from previous  productions at Workshop, Town Theatre, Trustus and even Opera USC, but we have some  newcomers as well. The guys all have rich musical backgrounds, which is a blessing for a show  like Five Guys Named Moe. I've enjoyed working with both the seasoned performers and the  first-timers, as they each bring a distinct energy and eagerness to the process,” Boeschen said.

Five Guys Named Moe runs September 18-21 in The Market Space at 701 Whaley. Regular priced adult tickets are $22, senior and active military tickets are $20, student tickets are $16,  and children (12 & under) are $12.  Come out for a new experience at a new location with an old friend, Workshop  Theatre.

~ Haley Sprankle, Jasper intern

From press material:

The Story: His woman left him, he’s broke, and it’s almost five o’clock in the mornin’. But don’t be worryin’ ’bout our hero, Nomax. Out of Nomax’s ’30s-style radio pop Five Guys Named Moe. They cajole, wheedle, comfort and jazz him with the whimsical hit songs of Louis Jordan, one of the most beloved songwriting talents of the twentieth century. With more than fifty top ten singles on the rhythm and blues charts, this great composer and saxophonist brought a popular new slant to jazz that paved the way for the rock-and-roll of the 1950’s.

Five Guys Named Moe show dates and times: Thursday, September 18 @ 8 pm Friday, September 19 @ 8 pm Saturday, September 20 @ 3 pm and 8 pm Sunday, September 21 @ 3 pm and 8 pm

Go to workshoptheatre.com to purchase tickets online or call the Box Office at 803-799-6551 between noon and 5:30 pm. Workshop Theatre’s Box Office is located at 635 Elmwood Ave., Columbia, SC, 29201. Box Office hours are from noon to 5:30 pm. Reservations can be made online 24 hours a day through the website.

Coloring the City: The Rosewood Arts Festival by Haley Sprankle

Throughout history, art has defined culture.  Art exhibited the grandeur of empires and kingdoms, depicting their great struggles and triumphs.  Art evolved over time through different techniques and perspectives.  Art brought people together and encouraged community.

Four years ago, Arik Bjorn and Forest Whitlark spawned an idea to create an artistic festival that would bring the community together to celebrate local artists’ work, and so the Rosewood Arts Festival was born. “Our intent from day one has been to create a family-friendly, easily accessible arts festival, which is why we don’t charge admission and only charge a nominal fee for booth,” Bjorn says.

For many local artists, fees play a great deal into whether or not they can afford to showcase their work in festivals such as this one.  Fortunately, the low fees and the wonderful time of year creates the perfect environment for this festival.

“He [Bjorn] told me about it and I immediately thought it was a great opportunity for me to share my creations.  It’s the perfect time of year to be outside among so many talented folks from all creative outlets,” local painter Justice Littlejohn says.  “I am looking forward to being surrounded by so much creative energy and hopefully meeting some new friends.”

With over 100 different artists being featured in this festival, tremendous diversity is featured in the artwork.  Artist Sean McGuinness, or That Godzilla Guy, adds an eccentric twist to his photography by featuring Godzilla in his work. “My artwork is very eclectic, but it is also focused, unique, and enthusiastic.  I bring art appreciation through Godzillafication.  Whereas other artists use charcoal or paint, I use photography and toys,” McGuinness says.

As art shapes and influences the community, the community also shapes and influences art.  Local photographer Charles Hite only began taking photos seriously around 2009 and gained an appreciation for the world around him. “Although I’ve seen a lot of changes around here, I’ve been guilty of rushing by things, not paying attention or taking things for granted. In the last 20 years or so, I’ve come to deeply realize we have beauty all around us, and I have a greater appreciation and contentment of my surroundings,” Hite says.  “I hope my photos will encourage people to take a pause, become curious and go out, and experience some of the beautiful and interesting places we have here in the Midlands and across our beautiful state.”

While some artists have hopes of prompting the community to be more involved or influencing the way they view their lives, painter Abstract Alexandra has simpler goals. “I hope my art will bring a bit of color and joy that others may hang on their wall and enjoy for years to come,” Alexandra says.

The festival is cohosted by Rockaways Athletic Club and the Trenholm Artists Guild and will be held at Rockaways (2719 Rosewood Drive) on September 20 from 10 am to 6 pm.  In its fourth consecutive year, the festival has more than doubled its featured artists, making more art directly available to the public while also allowing artists to put themselves out there.  Come on out to experience some color, live music, and great food!

One Columbia Unveils New Public Art Piece on Main Street

Unveiling  on September 17 at 10:00am on 1400 Block of Main

 One Columbia for Arts and History and the City of Columbia are pleased to announce the installation and unveiling of the first sculpture resulting from the public art pilot program.

Commissioned with a generous donation from Sean McCrossin, owner of Drip coffee shops and Scoopy Doo gelato shop, the piece entitled “Hanging” was created by local artists Eileen Blyth and Mark Finley. As Blyth explains, “This sculpture is an invitation to play…to stop and sit and play, or just listen. One Columbia is the force behind the Main Street public art initiative. And without the city's support, this sculpture and many more to come would not happen. It is very exciting to be a part of.”

“I am very happy to be a part and help One Columbia, the City of Columbia and the Mayor in their endeavor to fill the streets with creative, inspired and inspiring art that will hopefully remind us of this colorful city in which we live,” says McCrossin.

The sculpture consists of five tank drums (also known as hank drums) fabricated from propane tanks mounted to painted seats. Each drum is tuned differently to allow for unique harmonies to be played. The piece will be installed in front of 1441 Main Street and will be publically unveiled on September 17 at 10am.

“Public art is inspirational, thought provoking and even more so when it’s interactive. ‘Hanging’ will give the public the opportunity not just to observe but to participate.” says Karel Givens, Vice President of City Center Partnership, the organization that manages the downtown Business Improvement District (BID).

“From increasing funding to our arts and cultural organizations to displaying local artists’ work in City Hall, we have taken several important steps this year toward realizing our vision of Columbia as a true City of Creativity,” said Columbia Mayor Steve Benjamin. “This sculpture and the new public art program it represents is a giant leap forward and I couldn’t be more proud.”

The public art program administered by One Columbia for Arts and History represents the joint efforts of multiple departments of the City of Columbia, the City Center Partnership, and the Community Relations Council who all contributed to make the process a success. The framework established by these partners will carry over to the creation of future pieces throughout the City of Columbia.

Lee Snelgrove, Executive Director of One Columbia for Arts and History explains, “Public art can define a place and give it a distinctive and inviting personality. Because of the relationships that have been made in establishing this formal process for commissioning public art, we’ll be able to continue bringing work to Columbia that will demonstrate the level of creativity and talent in this city.”

Artists interested in submitting their qualifications for consideration for future projects can find the call for artists on the One Columbia for Arts and History website at onecolumbiasc.com.

~*~

About One Columbia for Arts and History

One Columbia for Arts and History is a non-profit corporation that works to promote collaboration among citizens, the cultural community, and city government through celebrations of Columbia’s arts and historic treasures. Its goal is to enhance the quality of life for our residents, attract tourist dollars to our city, and further build our vibrant community. In short, it serves as the promotional arm of the City for Columbia’s cultural community. Visit the One Columbia website (http://onecolumbiasc.com) for a continuously updated master list of art and cultural activities occurring throughout the city.

Trustus Theatre's 30th Anniversary Talk Back Schedule

 

Jasper loves back-talk -- and talk back sessions, as well, and Trustus Theatre is kicking off its thirtieth anniversary season with Christopher Durang’s hilarious “Vanya and Sonia and Masha and Spike,” winner of the 2012 Tony Award for Best Play, with an intriguing talk back session scheduled the second weekend of the performance. The show runs through September 27th, with the first audience talk-back of the season following the matinee on September 21^st with guest respondent Jemme Stewart who will be discussing the mental health of the stage family, and helping us explore their family dynamics.

Co-founder of Upstream: A Center for Mindfulness Practice and Holistic Mental Health, Jemme has been contributing to the field of mental health for over 40 years. She obtained her Masters of Nursing Science In Psychiatric Nursing from the University of South Carolina and after ten years of working in a local psychiatrist office, she founded Carolina Psychotherapy  Center in 1981.  Jemme, along with co-founder Dr. Hilda White, sees the creation of Upstream as the perfect opportunity to bring a very positive and research-based skill set to a wide range of people in South Carolina. Jemme’s interest in founding Upstream with Dr. White was influenced by her growing awareness that MBSR skills are powerful practices to use as an adjunct to those in therapy, as well as all persons interested in stress management.

The seven-show Mainstage season will also include the return of last season’s sell-out family friendly show, “A Christmas Carol” and two musicals: an update of the hit 70s’ musical “Godspell,” and the award-winning “Dreamgirls.” The Mainstage will also feature two dramas: the first part of a three-part trilogy, “In the Red and Brown Water,” by the young Tarell Alvin McCraney; and “Other Desert Cities,” by Jon Robin Baitz. The season will conclude with the 2014 Trustus New Play winner, “BigCity.”

For each production, one performance will feature a post-show talk-backs with experts in subjects related to the productions, giving audience members the chance to discuss their reactions to each show and ask questions about its content. 

There's more ...

In addition, Trustus will present four plays at its Richard and Debbie Cohn Side Door Theatre, the annual Vista Queen Pageant and Henderson Bros. Burlesque, and several special events.

MARK YOUR CALENDARS FOR THE FOLLOWING DATES:

“Vanya and Sonia and Masha and Spike,” through Sept. 27, 2014. By Christopher Durang, directed by Jim O’Connor, with talk-back September 21st. Winner of the 2013 Tony Award for Best Play, 2013 Drama Desk Award for Best Play and 2013 Outer Critic’s Award for Best New Broadway Play.

“A Christmas Carol,” Nov. 21–Dec. 20, 2014. Based on the novel by Charles Dickens, A new adaptation by Patrick Barlow, directed by Chad Henderson, with talk-back December 14th.

“In the Red and Brown Water,” Jan. 23–Feb. 7, 2015. By Tarell Alvin McCraney and directed by Chad Henderson, with talk-back February 1st.

“Godspell,”  March 27–Apr. 11, 2015. Based on the gospel according to St. Matthew with music and lyrics by Stephen Sachwartz and book by John-Michael Tebelak, directed by Dewey Scott Wiley, with talk-back March 29th. Nominated for the 1971 Tony Award for Best Original Score, 1971 Drama Desk Award for Most Promising Composer and 1971 Drama Desk Award for Most Promising Lyricist.

“Other Desert Cities,” May 8–23, 2015. By Jon Robin Baitz, directed by Jim Thigpen, with talk-back May 10th. Nominated for the 2012 Tony Award for Best Play and  2012 Pulitzer Prize Finalist for Drama.

“Dreamgirls,” June 26–Aug. 1, 2015. Book and lyrics by Tom Eyen and music by Henry Krieger, directed by Terrance Henderson, with talk-back July 26th. Winner of the 1982 Drama Desk Award for Best Book, 1982 Tony Award for Best Book and 1983 Grammy Award for Best Cast Show Album.

“Big City,” Aug 14 –22, 2015. By Barbara Blumenthal-Ehrlich, winner of the 2014 Trustus New Play Festival. Talk-back TBA

The Richard and Debbie Cohn Side Door Theatre season includes:

”The Other Place,” Oct 17–Nov 1, 2014. By Sharr White, directed by Jim O’Connor with talk-back October 19th.

“Standing on Ceremony: The Gay Marriage Plays,” January 3–17, 2015. A collection of plays by Mo Gaffney, Jordan Harrison, Moisés Kaufman, Neil LaBute, Wendy MacLeod, José Rivera, Paul Rudnick, and Doug Wright and conceived by Brian Shnipper, directed  by Elena Martínez-Vidal with talk-back January 11th.

”You Better Sit Down: Tales from My Parents’ Divorce,” Feb. 27 – Mar. 14, 2015. By Anne Kauffman, Matthew Maher, Caitlin Miller, Jennifer R. Morris, Janice Paran, and Robbie Collier Sublett, directed by Scott Herr with talk-back February 22nd.

“Bill W. and Dr. Bob,” May 29–June 13, 2015. By Samuel Shem and Janet Surrey, directed by Dewey Scott Wiley with talk-back May 31. Winner of the 2010 Regional British Columbia Drama Festival for Best Play.

For Trustus ticket prices and reservations as well as information on other happenings, please see trustus.org or call the box office at (803) 254-973.

USC’s Southern Exposure Music Series announces 2014-15 season

 

The award-winning series of

free, innovative concerts

opens on Sept. 26

The University of South Carolina’s Southern Exposure Music Series season is a star-studded year filled with the superb artistic quality and innovative programming that Columbia has come to expect from the Southeast’s most adventurous music series. The award-winning series, in its 13th year, continues to offer concerts for free.

This year is a typically diverse season, featuring a hip, hot string quartet (Brooklyn Rider, Sept. 26), a world music giant (the return to Columbia of sitar great Kartik Seshadri, Nov. 14), a classical music legend (soprano Lucy Shelton, with the esteemed Dolce Suono Ensemble, Feb. 25), and ending with the series’ first-ever foray into USC’s brand new music space, the W.W. Hootie Johnson Performance Hall in the Darla Moore School of Business (1014 Greene St) – a rare performance of Louis Andriessen’s gigantic masterpiece De Staat (March 20), featuring USC students and faculty and conducted by Scott Weiss, director of bands.

These popular free concerts fill to capacity, but patrons can reserve a seat and support the series for the entire season for $100.

Southern Exposure New Music Series, 2014-15 Season

Brooklyn Rider Fri., Sept. 26, 7:30 p.m.

USC School of Music Recital Hall (813 Assembly St)

The Brooklyn-based string quartet has been called “one of the wonders of classical music,” by the LA Times.  They tour and record regularly with the likes of Bela Fleck and Yo-Yo Ma’s Silk Road Ensemble, and in recent years have performed in one of the more diverse lineups of venues imaginable, including the Ojai Music Festival, the Cologne Philharmonie, the U.S. Open Tennis tournament, Lincoln Center, and Austin’s South by Southwest, where the quartet was the only classical group with an official invitation to play. Their Southern Exposure program will include Philip Glass’s second string quartet, as well works from their latest recording project, the ambitious, cross-disciplinary Brooklyn Rider Almanac (Mercury Classics). http://www.brooklynrider.com/

~~~

Music from India: Kartik Seshadri, sitar and Abhijit Banerjee, table Fri., Nov. 14, 7:30 p.m. USC School of Music Recital Hall (813 Assembly St)

If one can say that any of Southern Exposure’s past concerts deserves the epithet “legendary,” sitar virtuoso Kartik Seshadri’s Southern Exposure performance nearly 10 years ago would surely be among the first mentioned, remembered by those in attendance as a magical, emotionally-charged, unforgettable evening. He is joined by another major figure in Indian classical music, the tabla player Abhijit Banerjee.  http://kartikseshadri.com/

http://www.abhijitbanerjee.com/

~~~

Dolce Suono Ensemble and Soprano Lucy Shelton Wed., Feb. 25, 7:30 p.m.

USC School of Music Recital Hall (813 Assembly St)

Acclaimed singer Lucy Shelton, perhaps contemporary classical’s leading soprano, a “new music diva” with “musicianship, technique and intelligence that are unfailing,” (Boston Globe), Shelton has premiered more than 100 major works by composers that comprise a who’s who of 20^th- and 21^st-century music, including Elliott Carter, Oliver Knussen, Joseph Schwantner, Charles Wuorinen, Gerard Grisey, David Del Tredici and Ned Rorem. An evening with Philadelphia-based stars Dolce Suono, with a core group of artists from world-renowned Philly institutions like the Curtis Institute of Music and Philadelphia Orchestra, led by flutist Mimi Stillman, is certain to be equally astounding. This concert is comprised of two works that set ancient Chinese poetry, by Pulitzer-prize winner Shulamit Ran and USC’s own Fang Man, and will be preceded by a 6:30 p.m. presentation by Joseph Lam, chair of the Department of Musicology at the University of Michigan.

 http://www.lucyshelton.com/

http://dolcesuono.com/

~~~

Music and Society:  Hartke’s “Sons of Noah” and Andriessen’s ”De Staat”

Fri., March 20, 2015, 7:30 p.m.

W.W. Hootie Johnson Performance Hall

(Moore School of Business 1014 Greene St.)

Performed by a bevy of USC’s world-class faculty and superb students, these major works take on extra-musical topics relating music and society/politics – and, quite apart from any lessons that might be imparted, are masterful, mesmerizing pieces of music. Stephen Hartke’s “Sons of Noah,” featuring USC soprano Tina Stallard and three highly unusual quartets of instruments – classical guitars, flutes and bassoons – sets a short story written during the Crimean War, the first modern conflict between the Islamic world and Europe: a satirical imagining of three “missing chapters of the Bible.” Hartke’s music has echoes of old and new styles, from the Middle Ages and Renaissance to Igor Stravinsky, and strikes a powerful emotional chord. Dutch post-minimalist icon Louis Andriessen’s De Staat (which, while composed in an entirely different style than Sons of Noah, also owes something to the rhythmic legacy of Stravinsky) sets texts from Plato’s Republic. The big, robust work with a large number of singers, brass, woodwinds, strings, pianos and electric guitars onto the stage will blow the roof off of the new hall!

News & ARTIST CALL from Indie Grits

Indie Grits Film Festival, the Southeast’s premier film and culture festival in Columbia, S.C. for DIY media-makers, will take place April 15-19, 2015, and for the first time, the festival will have a theme: “Future Perfect.” Additionally, 2015’s Indie Grits is calling for visual artists whose work will enhance Columbia’s public spaces during the festival for a multi-faceted exhibit, thanks to funding by an Our Town grant from the National Endowment for the Arts.

The ninth annual Indie Grits, hosted by the Nickelodeon Theatre, South Carolina’s oldest art-house cinema located on Main Street in South Carolina’s capital city, will feature five full days of the best DIY short, experimental, animated and student film, music, food and outside-the-box artistic performances from South Carolina and the Southeast. Indie Grits has twice been named one of MovieMaker magazine’s Top 25 Coolest Film Festivals in the World.

“Forty percent of attendees from last year’s Indie Grits lived outside of Columbia, and we want to do more to attract even more out-of-town participants,” said Seth Gadsden, co-director of Indie Grits Film Festival. “Our participant and attendance numbers are growing each year, but folks tell us again and again that they want to be able to attend more Indie Grits events while they’re in town. So a five-day format will concentrate all the events you’ve come to love about Indie Grits, plus some events we’re adding, like our brand-new call for artists. We’re hoping a jam-packed festival will mean that more people will bring a critical mass to downtown Columbia during Indie Grits.”

Indie Grits Calls for Visual Artists

Indie Grits 2015 will build on the artist-in-residence program sponsored by One Columbia for Arts and History, which began at 2014’s Indie Grits and brought artist Amanda Cassingham-Bardwell and her installation art to the festival. The artist-in-residence program will return to Indie Grits 2015, and thanks to an Our Town grant from the National Endowment for the Arts, the festival seeks proposals from artists inspired by the Future Perfect theme for the festival.

Indie Grits seeks installations, sculpture, video, photography, mixed media and any kind of art that speaks to the theme of the festival. Indie Grits will accept 15 – 25 artist applicants for exhibition at the festival. Indie Grits will provide accepted artists and collaborations with modest financial support to facilitate materials, shipping, installation and some other incurred costs, and projects will receive up to $1,000. Projects will be displayed throughout the 2015 festival in various locations downtown Columbia, including Tapp’s Center for the Arts. For more information and the application, visit indiegrits.com/submit/art.

As always, Indie Grits Film Festival will continue to focus on offering audiences opportunities to see the best new films coming from independent Southern filmmakers with a far-reaching, experimental scope during the festival. Additionally, festivalgoers will enjoy other favorite events like the Spork in Hand Puppet Slam, a concert at the Columbia Museum of Art and the Slow Food at Indie Grits Sustainable Chefs Showcase.

For more information on Indie Grits, visit www.indiegrits.com or contact Seth Gadsden, festival co-director at Seth@IndieGrits.com, (803) 254-8324.

CMA Jazz on Main kicks off September 12th with Noel Freidline

The Columbia Museum of Art presents the first concert in the new, world-class jazz series, "CMA Jazz on Main," under the artistic direction of internationally renowned band leader Noel Freidline on Friday, September 12, 2014, at 7:30 p.m. The two-concert pilot season last year was a phenomenal success. With the generous support of Dr. Serbin and his partners at Family Medicine Centers of South Carolina, the Museum is proud to present the exciting new series bringing amazing, hot jazz performances to the elegant setting of the DuBose-Poston Reception Hall.

"We are very excited about the coming season of Jazz on Main," says Leslie Pierce, CMA director of adult programs. "The concerts transform the ambience of the Museum into the feel of a cool, laid-back jazz club with soft lighting, a snazzy bar, and wine bottles at nice table seating that really puts the audience in the right mood for exceptional jazz music. The night almost has a velvet feel to it."

The inaugural concert features Nelson Rangell joined by the acclaimed Noel Freidline Trio for an amazing evening of contemporary and straight ahead jazz. Jazziz magazine writes that Nelson Rangell is "an artist of depth, a master of song, and an improviser nonpareil." The Times of London notes "his extraordinary facility on a range of instruments and his undoubted virtuosity," adding that Nelson is "one of fusion's most accomplished exponents."

Such praise is a confirmation of what contemporary jazz fans have known since the Denver-based saxophonist emerged in the late 80s: that Rangell is one of the most exciting and diverse performers in the genre, equally adept at soprano, alto, and tenor saxophone, as well as being a genuine virtuoso on flute and piccolo.

"I'm embarking on a new chapter in my career," says Rangell. "I've been very blessed to have been a participant in the contemporary jazz scene for the past 30 years. The modern and 'popular' jazz scene is undergoing a lot of change. I think for the better. I believe it will be a creative and exciting period for many artists. I hope my performance at 'CMA Jazz on Main' with the excellent Noel Freidline Trio will be a reflection of this. I thank my friend John Baker for bringing me to Columbia for the first time."

Pianist, vocalist, composer, arranger, and educator, Noel Freidline has led his own band since 1992. He is currently a lecturer in music at the University of North Carolina at Charlotte, is the director of the Lake Norman Big Band (Mooresville, NC), and the artistic director of the new Center City 6th & Tryon Jazz Series in Charlotte, NC.

"I couldn't be happier with how well this series has been received," says Freidline. "And to have the ability to kick off the new season with an artist such as Nelson Rangell is an absolute privilege. The description 'world-class' gets thrown around a lot these days, but Nelson Rangell is truly the embodiment of that phrase. His career speaks for itself, but Nelson is unique in the depth and breadth of musicality and diversity that he can bring to a bandstand. Respect amongst your peers is the hardest-won achievement for performers, and jazz musicians think of Nelson as 'the real deal'."

"I really can't wait to see the 2014-2015 Jazz on Main season unfold," Freidline continues. "We have had such great momentum due in large part to the excellent Columbia audience that has come out and taken part in some spectacular evenings. Every musician who has thus performed has commented to me how great the venue is and especially how wonderful the audiences have been. We simply can't thank Columbia enough for making us feel so welcome."

Based out of Charlotte, N.C., the famous swinging repertoire of Noel Freidline's band mines the best of every genre, from the swing of Duke Ellington to the gritty sincerity of Bonnie Rait, from soulful and edgy reinterpretations of Patti Page to Africanized arrangements of Simon & Garfunkel. Vocally driven, their sound is characterized by sophisticated arrangements that always retain a playful element of spontaneity.

Upcoming concerts in the 2014-2015 season:

• Celebrating the Great American Songbook - Friday, November 14, 2014
• Oscar, Ahmad & George: Three Legends of Piano Jazz - Friday, January 16, 2015
• Tribute to the Swing Bands - Friday, April 17, 2015

Doors open at 7:00 p.m.Concert at 7:30 p.m. Cash Bar.

Season Tickets: $130/ $90 for members

Individual Seats: $35 / $28 for members / $5 students

Premier Table Seating:

$300 6 guests & 2 bottles of wine $200 4 guests & 1 bottle of wine

Tickets and program information can be found at columbiamuseum.org.

First Fridays are about Lowbrow Cinema - Friday September 5th

 

The First Friday Lowbrow Cinema Explosion began in October 2013.  The Nickelodeon invited Bickel to curate a “B movie” series, and he enthusiastically ran with it.  Bickel says, “Rather than do straight ‘B movies,’ I wanted to have the series profile movies which fit a loose set of parameters that I like to call ‘lowbrow.’ We’re mostly dealing with horror and exploitation titles, all with elements that I’d describe as ‘over the top.’”

Past films include Rats: Night of Terror, Pieces, Black Christmas, Hard Ticket to Hawaii, Dolemite, Maniac, Cannibal Ferox, Blood Feast, Bloodsucking Freaks, Pink Flamingos, and MS 45.  Of these films, Bickel says, “Pink Flamingos was the biggest crowd we had.  Black Christmas creeped people out the most.  Hard Ticket to Hawaii had the audience laughing the most.”

While these are all films that Bickel loves, he selects the films in the series “for their authenticity of execution as well as their over-the-top content.”  He tries to pick “the most mind-meltingly oddball films from the golden age of splatter and exploitation.”  Upcoming films include Ilsa She Wolf of the SS, Female Convict Scorpion: Jailhouse 41, Cemetery Man, Silent Night Deadly Night, Sleepaway Camp, and My Bloody Valentine.

Screenings take place at 11:00 pm on Friday nights, and the audience is fairly warned about what they are getting themselves into.  While the films undeniably push multiple boundaries, the series has been incredibly well received.  Bickel says, “After the movies I am generally thanked for bringing something to the screen that someone had only ever heard about or showing something someone remembered renting on VHS when they were a teenager and thought they would never get to see in a crowded theatre.”  Bickel would like for attendees to learn something new about this type of cinema that’s most likely quite different from what they’re used to, but he mostly hopes people enjoy the film and have a great time.  The films do go “too far,” but the audience seems to appreciate them for this very reason and be willing to go “too far” along with them.  “Columbia is suddenly more open-minded than we all thought!” says Bickel.

- Abby Davis

Ilsa, She Wolf of the SS will be playing at the Nickelodeon Theatre on Friday, September 5^th at 11:00 pm.  Tickets can be purchased at www.nickelodeon.org.

ONLY YOU CAN START THE FOREST FIRE THAT WILL OCCUR IF DOS MIDLER MEETS CORKY ST. CLAIR by Alex Smith

Last summer I had the pleasure of acting in my friends Chris and Emily White's film CINEMA PURGATORIO. I portrayed a possibly fictional European expatriate living in the southeast U.S. named Dos Midler. I had WAY too much fun, met and worked with an amazing group of people, got to play a role which now ranks among my favorites (and kiss Chris on the mouth MANY times in the process), and the film turned out to be a real gem, a beautiful, hilarious piece of art that speaks extremely well of the state of cinema in our state. I was rewarded for my efforts and time by not only getting to be a part of this wonderful film, but being treated as a VIP at the very first public screening CINEMA PURGATORIO in Columbia back in June.

Chris and Emily have been hauling the film all across the U.S. for screenings, and I've tried to make it to one or two of them, to no avail. When Chris told me that they had secured a screening at one of the nation's premiere independent cinemas, Clinton Street Theater in Portland, Oregon, and that it would open a double bill that would close with a 25th anniversary screening of Christopher Guest's THE BIG PICTURE, I jokingly mentioned to him that if he and Emily could find someone to pay for the flight and hotel, that I would bring Dos to the Portland screening.

Literally, the next day, I received an e-mail from Chris with this link:

www.CinemaPurgatorioFilm.com/dos

...and the amazing news that, per my suggestion, he and Emily had created a page for me (and for other people in the cast and crew who had expressed interest in going to the Portland screening) at the CINEMA PURGATORIO web site to raise money for us to be flown out for the screening and put up for the night! 

WHAT?!?!?

Amazing. I knew Chris and Emily were kind and generous, but this blew my mind ...

So, here's the deal. Follow this link:

www.CinemaPurgatorioFilm.com/dos

...and click on the button that says, "CLICK HERE TO SEND DOS".

You can contribute anywhere from $5 to $500, with some pretty nice incentives in return for your contribution, and once $500 is raised, BAM! Dos is going to Portland (I myself have already put a little bread into the pot, so let's just say I'm already 1/10th of the way there!).

Also, in the odd event that more than $500 is contributed in my name, all the money over $500 goes toward sending another member of the CINEMA PURGATORIO team to the screening! Again, Chris and Emily White are the BEST!

Now, you're probably wondering why you should help send me to this screening. Well, let's start with the personal: I haven't been on a vacation beyond North or South Carolina since August of 2001, and this whirlwind of a trip would be such a lovely little working vacation, and it would also be so beautiful to spend time with my wonderful friends watching their wonderful film ... but that's not the important part.

The important part is that when you send me, you will be sending Dos Midler to the Portland screening of Cinema Purgatorio. Dos and I are very different people, yes, but we are alike in three key ways:

1. Dos and I are both cinematic masters.

2. Dos and I both own tickle bats (I'll tell you about that later).

3. Dos and I are both troublemakers.

You send Dos or me to this screening, and what was already classified as an "event" turns into a full fledged CAPER (and you'd better believe there will be documentation of this caper's unfolding right here in the Jasper blog, minute by minute, as it happens)!

So what do you think? Are you ready to make me Jasper's man (and I use that term very loosely) on the ground in Portland when the deal goes down and CINEMA PURGATORIO premieres there? If so, click the link:

www.CinemaPurgatorioFilm.com/dos

...follow the instructions, and get ready for "ess" to get real!

If you need any other reasons here are some videos that might bolster your confidence:

THE SECRET MAGICAL GREEN SCREEN SESSION

DON'T FALL IN LOVE WITH A COLUMN AT 701 WHALEY

DOS IS WILD, TRAILER 1

DOS IS WILD, TRAILER 2