USC Opens Neil Simon's Rumors at Drayton Hall Friday Oct., 15th

The University of South Carolina Theatre Program will launch its 21/22 season in uproarious style October 15-22 with a production of Neil Simon’s raucous comedy Rumors at Drayton Hall Theatre.  

Show time is at 8 p.m. Tuesday through Saturday, with additional 3 p.m. matinee performances on Saturday, October 16 and Sunday, October 17. Admission is $15 for students, $20 for UofSC faculty/staff, military, and seniors 60+, and $22 for the general public. Tickets may be purchased online at sc.universitytickets.com. Drayton Hall Theatre is located at 1214 College St., across from the historic UofSC Horseshoe. In keeping with university safety protocols, masks will be required of all audience members, actors and crew, and seating will be limited to allow for appropriate social distancing between all patrons.  

Sharp-edged wit meets madcap farce in legendary playwright Simon’s hit 1988 comedy.  When the first pair of guests arrive for an anniversary party at the opulent home of Charlie Brock, the Deputy Mayor of New York, they find their host unconscious, shot in the head (well…the ear lobe), and his wife missing.  Wanting to protect Charlie – and themselves – from potential scandal, they fabricate a lie to tell the rapidly-arriving partygoers, setting in motion an ever-more-hilarious series of cover-ups, misunderstandings and mishaps. "Has nothing on its mind except making the audience laugh." - The New York Times

Recipient of the Pulitzer Prize (1991) and the Mark Twain Prize for American Humor (2006), in addition to numerous Tony® awards, Neil Simon was one of the most successful writers of the 20th century, with hits like The Odd CoupleBarefoot in the Park, and Biloxi Blues becoming long-running successes on stage and screen.  His work has become especially personal to director David Britt, who counts Rumors as the seventh Simon play he’s helmed in the last decade.

“I am a student of Neil Simon and his writing,” says Britt.  “When I was growing up, he was as popular a playwright as anybody, and I see his influence in everything I’ve seen since. I will always pay tribute to him.”

There’s an old expression, ‘I dropped my basket,’ meaning you've lost it...  Everybody’s basket gets dropped in Rumors!

Although the playwright told The New York Times that Rumors was his “first farce” and “completely different for me,” the play’s humor is still classic Simon. “It’s a sarcasm that many of us in the South may not be familiar with,” says Britt of the Simon’s signature one-liners.  “Our sarcasm is often very passive-aggressive, but his is straight to the point.  It’s given and received with the same attitude.”

In keeping with the classic form of farce, Rumors’ comedy is rooted in characters who become completely unraveled in the wake of fast-moving chaos and absurdity.  However, Britt says that Simon’s heightened characters are still totally relatable.

“Having read about Simon and the circles he ran in I think these characters are people he would have attended parties with.  There’s no one in this play who is an unbelievable person and that’s what we’re going for -- to hold up a mirror and say, ‘Look how crazy we all are under pressure.’”  

“There’s an old expression, ‘I dropped my basket,’ meaning you've lost it,” he adds with a laugh.  “Everybody’s basket gets dropped in Rumors!”

Britt’s production will bring its own special sense of zaniness to the proceedings, transporting audiences back to the “decade of excess” with a 1980s design aesthetic filled with shoulder pads, big jewelry and even bigger hair. “This play is not only a farce, but a comedic commentary on the socio-economic status of the wealthy,” says graduate design student Kyla Little, costume designer for the production.  “Material possessions have an interesting way of changing the confidence of the human psyche and I take pleasure in exaggerating that through the aesthetic trends of that era.”

Additional designers for the production include Professor Jim Hunter (scenic), graduate design student Lawrence Ware (lighting), undergraduate media arts student Alisha De Jesus (makeup) and guest artist Danielle Wilson (sound.)  

The show’s cast includes students Brandon BadinskiJohn BoulayJesse BreazealeZoe ChanBilly CheekKoby HallAndie LoweCaroline McGeeJordan Pontelandolfo and Isabella Stenz.

“It’s non-stop laughter for the audience to watch,” promises Britt.  “There isn’t any message beyond just enjoying yourself watching these people who think they’re so collected become so uncollected in a matter of minutes.”  

“Just come and have a good time.”

For more information on Rumors or the theatre program at the University of South Carolina, contact Kevin Bush by phone at 803-777-9353 or via email at bushk@mailbox.sc.edu.   

 Courtesy of UofSC Department of Theatre and Dance

REVIEW: Workshop Theatre Welcomes Audiences Back with New Work - The Campaign, written and directed by Crystal Aldamuy

In Shakespeare’s day, Elizabethans went not to see a play, but rather to ‘hear’ a play.  If the mark of a listenable story is its strength of dialogue, Crystal Aldamuy has the gift of gab. She puts words into her characters’ mouths that make us feel as though we are eavesdropping through a tenement wall. This is more than evident in her latest feat of derring do, a two-act relationship drama called The Campaign produced by Workshop Theatre. Not only does Aldamuy exhibit an acumen for how people talk, but she also proves a competent craftsperson in the construction of plot.

The Campaign tells the story of Kyle McMillian, an ambitious thirty-something who embarks on entering a local city council race, and his life with his flamboyant partner, Seth Williams. The two young men grapple with the universal vagaries of keeping their love alive while cohabitating in somewhat claustrophobic quarters. Their relationship is further challenged by Kyle’s meddling mom, Naomi, whose raison d’etre appears early on to be shopping for her son and picking out just the right sofa pillows.  

At the outset, Kyle and Seth present as a familiar trope of ‘gay odd couple.’ Kyle’s reticence is juxtaposed by Seth’s inability to keep anything to himself. When the moment arrives for Kyle to announce that he has thrown his hat in the ring to be a local politician, Seth has become disillusioned by the reality of their relationship. Seth now must compete for Kyle’s attention and must ‘campaign’ for his true loyalty. This conflict reaches a fever pitch when a man named Timothy enters the picture later in the game.   

Aldamuy’s two main characters’ wants and drives become clearer as the play progresses. Though the inclusion of Kyle’s mother, Naomi, appears first as a single-dimensional plot device, her development of personae is enriched by a touching scene wherein she connects for the first time with Seth at the kitchen table. No spoilers here, though.

Josh Kern as the earnest Kyle McMillion, son of the apparently legendary politician, Walter McMillion, is excellent. He moves throughout the play with ease, giving us a protagonist who desires far more than simply being a domestic AC repairman.

Julian Deleon sparkles with quick one-liners and hilarious mood swings. Deleon may well be the audience favorite as he maintains a type-A drama queen personality who is culinarily challenged and suffers panic attacks during failed attempts at assembling Ikea shelves.

Tiffany Dinsmore is delightful as Naomi McMillion, a mother who strives to insert herself into her son’s life and relationship with the best of intentions. Dinsmore is believable and never over-plays her hand in a role that could so easily have become a caricature.

As a playwright, Aldamuy delivers and gives us some firm bones.  

Missing, however, are clear and smooth transitions between scenes that could better convey the passage of time. These moments, when actors enter and exit depositing and retrieving props in half-light, were confusing.

Act One seemed to take a while before any significant conflict gave its characters the impetus for action. It might also have been technically stronger had Aldamuy directed Josh Kern to vocally project more as he was difficult to hear at times, keeping us on the edge of our seats for the wrong reasons. This took nothing away, however, from Kern’s powerful exchange with Deleon at the end of Act II, two scenes back-to-back that were worth the price of admission alone.

The script struggled to present a narrative that is socially relevant in 2021 with scenes about condoms and AIDS prevention (though certainly still a part of world we live in) giving us tired theatrical territory, once an important innovation in the eighties by dramatists such as Larry Kramer and William Hoffman, but by now a trope with which audiences are overly familiar.

Challenges aside, however, The Campaign is well-worth your time. Workshop Theatre has another winner here with local stalwarts Aldamuy, Kern, Deleon, and Dinsmore at the helm. Remaining performances are few. Do not miss this one!

Fri, Oct 8 8 PM, Sat, Oct 9 8 PM, Sun, Oct 10 3 PM

Tickets at Workshoptheatre.com

 

Christofer Cook is an active member of the Dramatists Guild of America. He holds an MFA, an MA, and a BA. An internationally produced and award-winning playwright, his latest work is “Amityville, 1925” which opens at Theatre Mysterium on October 21st.

 

Celebrating 66 Years of Allen Ginsberg's HOWL

HOWL

by Allen Ginsberg

For Carl Solomon

I

I saw the best minds of my generation destroyed by madness, starving hysterical naked,

dragging themselves through the negro streets at dawn looking for an angry fix,

angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night,

who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz,

who bared their brains to Heaven under the El and saw Mohammedan angels staggering on tenement roofs illuminated,

who passed through universities with radiant cool eyes hallucinating Arkansas and Blake-light tragedy among the scholars of war,

who were expelled from the academies for crazy & publishing obscene odes on the windows of the skull,

who cowered in unshaven rooms in underwear, burning their money in wastebaskets and listening to the Terror through the wall,

who got busted in their pubic beards returning through Laredo with a belt of marijuana for New York,

who ate fire in paint hotels or drank turpentine in Paradise Alley, death, or purgatoried their torsos night after night

with dreams, with drugs, with waking nightmares, alcohol and cock and endless balls,

incomparable blind streets of shuddering cloud and lightning in the mind leaping toward poles of Canada & Paterson, illuminating all the motionless world of Time between,

Peyote solidities of halls, backyard green tree cemetery dawns, wine drunkenness over the rooftops, storefront boroughs of teahead joyride neon blinking traffic light, sun and moon and tree vibrations in the roaring winter dusks of Brooklyn, ashcan rantings and kind king light of mind,

who chained themselves to subways for the endless ride from Battery to holy Bronx on benzedrine until the noise of wheels and children brought them down shuddering mouth-wracked and battered bleak of brain all drained of brilliance in the drear light of Zoo,

who sank all night in submarine light of Bickford’s floated out and sat through the stale beer afternoon in desolate Fugazzi’s, listening to the crack of doom on the hydrogen jukebox,

who talked continuously seventy hours from park to pad to bar to Bellevue to museum to the Brooklyn Bridge,

a lost battalion of platonic conversationalists jumping down the stoops off fire escapes off windowsills off Empire State out of the moon,

yacketayakking screaming vomiting whispering facts and memories and anecdotes and eyeball kicks and shocks of hospitals and jails and wars,

whole intellects disgorged in total recall for seven days and nights with brilliant eyes, meat for the Synagogue cast on the pavement,

who vanished into nowhere Zen New Jersey leaving a trail of ambiguous picture postcards of Atlantic City Hall,

suffering Eastern sweats and Tangerian bone-grindings and migraines of China under junk-withdrawal in Newark’s bleak furnished room,

who wandered around and around at midnight in the railroad yard wondering where to go, and went, leaving no broken hearts,

who lit cigarettes in boxcars boxcars boxcars racketing through snow toward lonesome farms in grandfather night,

who studied Plotinus Poe St. John of the Cross telepathy and bop kabbalah because the cosmos instinctively vibrated at their feet in Kansas,

who loned it through the streets of Idaho seeking visionary indian angels who were visionary indian angels,
who thought they were only mad when Baltimore gleamed in supernatural ecstasy,
who jumped in limousines with the Chinaman of Oklahoma on the impulse of winter midnight streetlight smalltown rain,

who lounged hungry and lonesome through Houston seeking jazz or sex or soup, and followed the brilliant Spaniard to converse about America and Eternity, a hopeless task, and so took ship to Africa,

who disappeared into the volcanoes of Mexico leaving behind nothing but the shadow of dungarees and the lava and ash of poetry scattered in fireplace Chicago,

who reappeared on the West Coast investigating the FBI in beards and shorts with big pacifist eyes sexy in their dark skin passing out incomprehensible leaflets,

who burned cigarette holes in their arms protesting the narcotic tobacco haze of Capitalism,

who distributed Supercommunist pamphlets in Union Square weeping and undressing while the sirens of Los Alamos wailed them down, and wailed down Wall, and the Staten Island ferry also wailed,

who broke down crying in white gymnasiums naked and trembling before the machinery of other skeletons,

who bit detectives in the neck and shrieked with delight in policecars for committing no crime but their own wild cooking pederasty and intoxication,

who howled on their knees in the subway and were dragged off the roof waving genitals and manuscripts,

who let themselves be fucked in the ass by saintly motorcyclists, and screamed with joy,

who blew and were blown by those human seraphim, the sailors, caresses of Atlantic and Caribbean love,

who balled in the morning in the evenings in rosegardens and the grass of public parks and cemeteries scattering their semen freely to whomever come who may,

who hiccuped endlessly trying to giggle but wound up with a sob behind a partition in a Turkish Bath when the blond & naked angel came to pierce them with a sword,

who lost their loveboys to the three old shrews of fate the one eyed shrew of the heterosexual dollar the one eyed shrew that winks out of the womb and the one eyed shrew that does nothing but sit on her ass and snip the intellectual golden threads of the craftsman’s loom,

who copulated ecstatic and insatiate with a bottle of beer a sweetheart a package of cigarettes a candle and fell off the bed, and continued along the floor and down the hall and ended fainting on the wall with a vision of ultimate cunt and come eluding the last gyzym of consciousness,

who sweetened the snatches of a million girls trembling in the sunset, and were red eyed in the morning but prepared to sweeten the snatch of the sunrise, flashing buttocks under barns and naked in the lake,

who went out whoring through Colorado in myriad stolen night-cars, N.C., secret hero of these poems, cocksman and Adonis of Denver—joy to the memory of his innumerable lays of girls in empty lots & diner backyards, moviehouses’ rickety rows, on mountaintops in caves or with gaunt waitresses in familiar roadside lonely petticoat upliftings & especially secret gas-station solipsisms of johns, & hometown alleys too,

who faded out in vast sordid movies, were shifted in dreams, woke on a sudden Manhattan, and picked themselves up out of basements hung-over with heartless Tokay and horrors of Third Avenue iron dreams & stumbled to unemployment offices,

who walked all night with their shoes full of blood on the snowbank docks waiting for a door in the East River to open to a room full of steam-heat and opium,

who created great suicidal dramas on the apartment cliff-banks of the Hudson under the wartime blue floodlight of the moon & their heads shall be crowned with laurel in oblivion,

who ate the lamb stew of the imagination or digested the crab at the muddy bottom of the rivers of Bowery,

who wept at the romance of the streets with their pushcarts full of onions and bad music,

who sat in boxes breathing in the darkness under the bridge, and rose up to build harpsichords in their lofts,

who coughed on the sixth floor of Harlem crowned with flame under the tubercular sky surrounded by orange crates of theology,

who scribbled all night rocking and rolling over lofty incantations which in the yellow morning were stanzas of gibberish,

who cooked rotten animals lung heart feet tail borsht & tortillas dreaming of the pure vegetable kingdom,

who plunged themselves under meat trucks looking for an egg,

who threw their watches off the roof to cast their ballot for Eternity outside of Time, & alarm clocks fell on their heads every day for the next decade,

who cut their wrists three times successively unsuccessfully, gave up and were forced to open antique stores where they thought they were growing old and cried,

who were burned alive in their innocent flannel suits on Madison Avenue amid blasts of leaden verse & the tanked-up clatter of the iron regiments of fashion & the nitroglycerine shrieks of the fairies of advertising & the mustard gas of sinister intelligent editors, or were run down by the drunken taxicabs of Absolute Reality,

who jumped off the Brooklyn Bridge this actually happened and walked away unknown and forgotten into the ghostly daze of Chinatown soup alleyways & firetrucks, not even one free beer,

who sang out of their windows in despair, fell out of the subway window, jumped in the filthy Passaic, leaped on negroes, cried all over the street, danced on broken wineglasses barefoot smashed phonograph records of nostalgic European 1930s German jazz finished the whiskey and threw up groaning into the bloody toilet, moans in their ears and the blast of colossal steamwhistles,

who barreled down the highways of the past journeying to each other’s hotrod-Golgotha jail-solitude watch or Birmingham jazz incarnation,

who drove crosscountry seventytwo hours to find out if I had a vision or you had a vision or he had a vision to find out Eternity,

who journeyed to Denver, who died in Denver, who came back to Denver & waited in vain, who watched over Denver & brooded & loned in Denver and finally went away to find out the Time, & now Denver is lonesome for her heroes,

who fell on their knees in hopeless cathedrals praying for each other’s salvation and light and breasts, until the soul illuminated its hair for a second,

who crashed through their minds in jail waiting for impossible criminals with golden heads and the charm of reality in their hearts who sang sweet blues to Alcatraz,

who retired to Mexico to cultivate a habit, or Rocky Mount to tender Buddha or Tangiers to boys or Southern Pacific to the black locomotive or Harvard to Narcissus to Woodlawn to the daisychain or grave,

who demanded sanity trials accusing the radio of hypnotism & were left with their insanity & their hands & a hung jury,

who threw potato salad at CCNY lecturers on Dadaism and subsequently presented themselves on the granite steps of the madhouse with shaven heads and harlequin speech of suicide, demanding instantaneous lobotomy,

and who were given instead the concrete void of insulin Metrazol electricity hydrotherapy psychotherapy occupational therapy pingpong & amnesia,

who in humorless protest overturned only one symbolic pingpong table, resting briefly in catatonia,

returning years later truly bald except for a wig of blood, and tears and fingers, to the visible madman doom of the wards of the madtowns of the East,

Pilgrim State’s Rockland’s and Greystone’s foetid halls, bickering with the echoes of the soul, rocking and rolling in the midnight solitude-bench dolmen-realms of love, dream of life a nightmare, bodies turned to stone as heavy as the moon,

with mother finally ******, and the last fantastic book flung out of the tenement window, and the last door closed at 4 A.M. and the last telephone slammed at the wall in reply and the last furnished room emptied down to the last piece of mental furniture, a yellow paper rose twisted on a wire hanger in the closet, and even that imaginary, nothing but a hopeful little bit of hallucination—

ah, Carl, while you are not safe I am not safe, and now you’re really in the total animal soup of time—

and who therefore ran through the icy streets obsessed with a sudden flash of the alchemy of the use of the ellipsis catalogue a variable measure and the vibrating plane,

who dreamt and made incarnate gaps in Time & Space through images juxtaposed, and trapped the archangel of the soul between 2 visual images and joined the elemental verbs and set the noun and dash of consciousness together jumping with sensation of Pater Omnipotens Aeterna Deus

to recreate the syntax and measure of poor human prose and stand before you speechless and intelligent and shaking with shame, rejected yet confessing out the soul to conform to the rhythm of thought in his naked and endless head,

the madman bum and angel beat in Time, unknown, yet putting down here what might be left to say in time come after death,

and rose reincarnate in the ghostly clothes of jazz in the goldhorn shadow of the band and blew the suffering of America’s naked mind for love into an eli eli lamma lamma sabacthani saxophone cry that shivered the cities down to the last radio
with the absolute heart of the poem of life butchered out of their own bodies good to eat a thousand years.

II
What sphinx of cement and aluminum bashed open their skulls and ate up their brains and imagination?

Moloch! Solitude! Filth! Ugliness! Ashcans and unobtainable dollars! Children screaming under the stairways! Boys sobbing in armies! Old men weeping in the parks!

Moloch! Moloch! Nightmare of Moloch! Moloch the loveless! Mental Moloch! Moloch the heavy judger of men!

Moloch the incomprehensible prison! Moloch the crossbone soulless jailhouse and Congress of sorrows! Moloch whose buildings are judgment! Moloch the vast stone of war! Moloch the stunned governments!
Moloch whose mind is pure machinery! Moloch whose blood is running money! Moloch whose fingers are ten armies! Moloch whose breast is a cannibal dynamo! Moloch whose ear is a smoking tomb!
Moloch whose eyes are a thousand blind windows! Moloch whose skyscrapers stand in the long streets like endless Jehovahs! Moloch whose factories dream and croak in the fog! Moloch whose smoke-stacks and antennae crown the cities!
Moloch whose love is endless oil and stone! Moloch whose soul is electricity and banks! Moloch whose poverty is the specter of genius! Moloch whose fate is a cloud of sexless hydrogen! Moloch whose name is the Mind!

Moloch in whom I sit lonely! Moloch in whom I dream Angels! Crazy in Moloch! Cocksucker in Moloch! Lacklove and manless in Moloch!

Moloch who entered my soul early! Moloch in whom I am a consciousness without a body! Moloch who frightened me out of my natural ecstasy! Moloch whom I abandon! Wake up in Moloch! Light streaming out of the sky!

Moloch! Moloch! Robot apartments! invisible suburbs! skeleton treasuries! blind capitals! demonic industries! spectral nations! invincible madhouses! granite cocks! monstrous bombs!

They broke their backs lifting Moloch to Heaven! Pavements, trees, radios, tons! lifting the city to Heaven which exists and is everywhere about us!

Visions! omens! hallucinations! miracles! ecstasies! gone down the American river!

Dreams! adorations! illuminations! religions! the whole boatload of sensitive bullshit!

Breakthroughs! over the river! flips and crucifixions! gone down the flood! Highs! Epiphanies! Despairs! Ten years’ animal screams and suicides! Minds! New loves! Mad generation! down on the rocks of Time!

Real holy laughter in the river! They saw it all! the wild eyes! the holy yells! They bade farewell! They jumped off the roof! to solitude! waving! carrying flowers! Down to the river! into the street!

III
Carl Solomon! I’m with you in Rockland

where you’re madder than I am

I’m with you in Rockland

where you must feel very strange

I’m with you in Rockland

where you imitate the shade of my mother

I’m with you in Rockland

where you’ve murdered your twelve secretaries

I’m with you in Rockland

where you laugh at this invisible humor

I’m with you in Rockland

where we are great writers on the same dreadful typewriter

I’m with you in Rockland

where your condition has become serious and is reported on the radio

I’m with you in Rockland

where the faculties of the skull no longer admit the worms of the senses

I'm with you in Rockland
where you drink the tea of the breasts of the spinsters of Utica

I’m with you in Rockland

where you pun on the bodies of your nurses the harpies of the Bronx

I’m with you in Rockland

where you scream in a straightjacket that you’re losing the game of the actual pingpong of the abyss

I’m with you in Rockland

where you bang on the catatonic piano the soul is innocent and immortal it should never die ungodly in an armed madhouse

I’m with you in Rockland

where fifty more shocks will never return your soul to its body again from its pilgrimage to a cross in the void

I’m with you in Rockland

where you accuse your doctors of insanity and plot the Hebrew socialist revolution against the fascist national Golgotha

I’m with you in Rockland

where you will split the heavens of Long Island and resurrect your living human Jesus from the superhuman tomb

I’m with you in Rockland

where there are twentyfive thousand mad comrades all together singing the final stanzas of the Internationale

I’m with you in Rockland

where we hug and kiss the United States under our bedsheets the United States that coughs all night and won’t let us sleep

I’m with you in Rockland

where we wake up electrified out of the coma by our own souls’ airplanes roaring over the roof they’ve come to drop angelic bombs the hospital illuminates itself imaginary walls collapse O skinny legions run outside O starry-spangled shock of mercy the eternal war is here O victory forget your underwear we’re free

I’m with you in Rockland

in my dreams you walk dripping from a sea-journey on the highway across America in tears to the door of my cottage in the Western night

First public reading, October 7, 1955, at the Six Gallery in San Francisco

Zachary Diaz and the Recycled Parts of Life

“If you’re always following the recipe, that’s as good as it’s ever going to taste.”

Zachary Diaz’s upcoming Stormwater show started with a ball of paper.

Years ago, Diaz wrote (and quickly discarded) an emotional letter to an ex, only to find the wadded paper months later. Capturing the words he had written on the page in a still life, Diaz hesitantly included the drawing of the letter in an earlier exhibition at Stormwater Studios. 

Several people pointed out the piece to him in the show, and Diaz started to realize a point of connection. “If that’s one way that I can connect with total strangers, how many more ways can we connect with other people? What other experiences or memories or reflections do we have that coincide with how someone else has felt?” Diaz asks. From that moment, a residency was born.

Diaz’s residency at 701 Center for Contemporary Art expanded this idea of unsent letters by outsourcing writing. Participants wrote letters to people or experiences, which were published anonymously on Diaz’s website. Several were selected to be the subjects of drawings that will be featured in his upcoming exhibition, which shows at Stormwater Studios from October 8-17.

This show is a combination of work from this residency and an earlier show called Cloudwalker, both of which were partially released online due to the pandemic.

Cloudwalker features clouds, as its title suggests, birds, and varying figures hidden in the compositions. “I like creating narrative stories that the viewer can make up themselves… I sort of lay the groundwork — I give them all the accents— and they can kinda come up with their own imagination what’s really going on,” Diaz says. He likes making work that makes people think.

The Letters portion of the show is ongoing throughout the duration of the exhibition. Viewers will be invited to submit their own letters, all of which will culminate in an installation that will be featured in the show’s closing reception on October 17 from 6-8pm.

While Diaz is still conceptualizing how the installation will look, he plans on ordering the letters in a way that reflects their content, identifying themes such as love, forgiveness, and varying emotions.  

Since starting the Letters project, Diaz says he’s become a lot more interested in how he feels when he’s making. His earlier creative process involved stricter planning and reference sketching. Now, Diaz works more intuitively, which, in turn, has made projects go faster and made him more aware of what he’s creating.

Diaz tends to mix mediums in nontraditional ways, layering oil paint over gessoed paper and drawing on top with charcoal. “I don’t think there’s any concrete way to create something” Diaz says. “If you’re always following the recipe, that’s as good as it’s ever going to taste.”

By making the letters in this show anonymous, Diaz says that he gives people a shield to really be honest. This openness displays his belief that so many experiences in life are shared, whether you know it or not.

Diaz describes the exhibition as a dive into his mind. “If you’re interested in learning more about everyone around you through the eyes of an artist, then come to the show,” Diaz says. “It’s a story in two parts… Cloudwalker is about how I see the world and everything around me. Letters is about how you see the world and learning more about the people around you.”

The opening reception for the exhibition is October 9 from 5-8pm. Whether by attending the show or submitting an anonymous letter yourself, Diaz wants to help create connections.

“Artists are gardeners. We make roses from the recycled parts of life,” Diaz says. To see how one crumpled piece of paper turned into a show, stop by Stormwater Studios before October 17.

 - Stephanie Allen

Special Friends Free Concert Series Comes to Bourbon's Courtyard Saturday Night with Cap City Playboys

Free Concerts from the Chillest Place to Sip on Main Street?

Yes, Please

Capital City Playboys featuring l-r Kevin Brewer, Jay Matheson, Marty Fort

Capital City Playboys featuring l-r Kevin Brewer, Jay Matheson, Marty Fort

In keeping with his perpetual support of the city, restauranteur and hockey beauty Kristian Niemi is giving yet another gift to Columbia in the form of a free concert series in the swanky, yet comfy, courtyard of one of his prize restaurants and bar, Bourbon.

Located at 1214 Main Street, Bourbon is a whiskey bar with a menu that focuses on Cajun and Creole delights. Over the course of the pandemic, the intimate drinking restaurant expanded into its larger neighboring space, creating an adjacent bar and lounge with a partially covered multi-level courtyard, perfect for the city’s beloved shoulder seasons when breezes beckon us to sit outside and sip on something artisanal and, often, locally designed and created.

Last week, Brandy and the Butcher gathered a crowd and, this week, the Capital City Playboys will be performing one set only starting at 9 pm.

Kristian Niemi  - photo by Richard Best

Kristian Niemi - photo by Richard Best

“I’ve always tried to support local arts, whether musical or in any of the other disciplines, so this was just a natural progression,” Niemi says. “We’ve been doing live music at Black Rooster all year; it was time to do it at Bourbon, also. This series should honestly be called ‘Kristian’s Friends’ Bands’ series since nearly every band has members that are close friends of mine, and I love to see them perform. I chose bands that are all very upbeat, rocking bands for this series. We’ll do more with other genres in the future, but this first series is definitely rocking.” 

The series, sponsored by Jack Daniels distillery, runs through November 13th, and will include, among other Midlands-based groups, Glamcocks, Grand Republic, and will close out the series with Niemi’s self-claimed “best friend” and band, Tom Hall and the Plowboys. Niemi says that while he’ll start up a new concert series in the spring, he will continue to have live music on the patio, but it just won’t be concerts, per se. 

“I want it to be a concert, not background music,” Niemi says. “I really want the crowd to get into it; to get in front of the stage and dance and sing along. I really want a concert vibe. These artists have spent a lot of time writing original material and I want it appreciated as a concert.” 

Jay Matheson of the Capital City Playboys is excited about their show on Saturday night. “I know Kristian loves music and I’ll bet he would like to do more things like this just to be able to hang out himself and enjoy the show with friends,” Matheson says. “It’s a great space for a music show and the first one last week with Brandy and the Butcher was a really good time. Best fun I’ve had at a show in a while.”

“Jack Daniels distillery has signed on as our sponsor for this series, and as a part of that are giving away some cool stuff. In addition to us creating some special cocktails for the bands, Jack Daniels is giving away some swag and some bigger prizes that we’ll announce at the end of the series” Niemi says.  “They’ll include bottles of their Single Barrel selections, some high-end swag, and even an exclusive VIP tour of the distillery followed by dinner.” 

After a long strange trip, Jerry Fest is back this Sunday!

“Don't tell me this town ain’t got no heart”


Jerry Garcia

Per The Five Points Association …

The Five Points Association, Loose Lucy’s and Mind Harvest Press are hosting the return of JerryFest—live and in-person—this Sunday, October 3, 2021. A FREE outdoor concert held at the main Five Points fountain on Saluda Avenue, JerryFest runs from 2pm-10pm and features multiple bands all performing Jerry Garcia and Grateful Dead music.

 

Since 2014, the event has welcomed around 1,200 to the Five Points village for a family- and pet-friendly afternoon of fellowship and music along with artisan crafts, food, beverage and merchandise vendors. JerryFest was started to commemorate the life and art of Jerry Garcia. Rock guitarist and musical icon, Garcia was best known as the lead guitarist for the Grateful Dead that inspired legions of followers known as “Deadheads.”

 “One of our signature neighborhood events returns with its tie-dyed sea of happy faces all enjoying 'rainbows full of sound,' as the song goes,” says Don McCallister, co-owner of Loose Lucy’s along with his wife Jenn.“

The music for the 2021 edition kicks off with the Columbia Community Drum Circle, followed by a regional headliner, the cleverly-named JGBCB (Jerry Garcia Band Cover Band). Local acts Big Sky Revival, Stillhouse and Gentle Jack round out the main stage bill, with the Red Shack Pickers performing at The Hubbell art installation across from Loose Lucy’s located at 709 Saluda Avenue. 

Fox 102.3 will be broadcasting live from 5pm-7pm at Greene and Harden Streets, and you’ll also get a glimpse of our JerryFest Dancing Bear parading throughout the festival footprint. There will also be an opportunity at the Columbia Fireflies booth for a photo op with Mason and our Dancing Bear.

 

Music Line Up:

  • Columbia Community Drum Circle - 2pm-3pm

  • Gentle Jack - 3pm-4pm

  • Big Sky Revival - 4:30pm-5:30pm

  • Stillhouse - 6pm-7pm

  • JGBCB - 7:30pm-10pm

 

Participating Vendors:

  • Bang Back Pinball Lounge

  • Blue Pizza

  • Booze Pops Columbia

  • Columbia Fireflies

  • Crowntown Cannabis (formerly Charlotte CBD Five Points)

  • Grizzly Belle

  • High Life Smoke Shop

  • Kombi Keg

  • Nessy's Naturals

  • Pelican's SnoBalls

  • Philly Flava II

  • Revyved Records

  • Something Special

  • Stolon Superfoods

 

There will be street closures that day from 10am-11:59pm. The 2000 Block of Greene Street starting at the stage in front of CJ’s down to Harden Street will be closed and blocked off. The main fountain plaza at 747 Saluda Avenue, Saluda Avenue in front of Starbucks and Saluda’s and the Saluda Avenue loading zone between the fountain and the Harden Street parking lot will be closed and blocked off as well. 

COVID-19 protocols will be encouraged for all festival participants and vendors due to the City of Columbia’s Mask Ordinance. Please see full details of the ordinance at columbiasc.gov. Cash will be accepted, but please bring credit/debit cards for your primary form of payment. Per SC Code of Laws Section 23-31-235, NO CONCEALABLE WEAPONS ALLOWED. 

For more information on JerryFest, please visit FivePointsColumbia.com/JerryFest. You can also follow the festival on Facebook @FivePointsSC, Twitter @FivePointsSC and Instagram @FivePointsSC.

 

Fall Lines 2021 RESCHEDULED for January 2022 Due to Covid

As per the directive of Richland Library,

the release and reading for

Fall Lines Volumes VII & VIII

has been rescheduled for

Sunday, January 23rd at 2 pm

in the auditorium of the

Main Branch of Richland Library.

All contributors are invited to read ONE piece of their work from the combined volumes.

As per the request of the Jasper Project, all attendees should be vaccinated.

Thank you for your patience and understanding.

Second City Comedy Coming to Harbison Theatre This Weekend!

Making people pee their pants with laughter has been to goal of Second City Comedy since they opened their doors in 1959, producing such comic geniuses as Bill Murray, Catherine O’Hara, Eugene Levy, Tina Fey, Kate McKinnon, Amy Poehler, Jordan Peele, and far too many more to list here.

But don’t forget the Belushi Brothers, Jason Sudeikis, and Tim Meadows. And Keegan-Michael Key.

And SC’s own Stephen Colbert got his start with Second City by answering phones in the BO and selling t-shirts in exchange for classes.

In 1969, Second City launched a touring company featuring comedians like Brian Doyle-Murray and Harold Ramis, (and in the ‘80s they developed a training center which eventually merged in 2016 with the Harold Ramis Film school, founded in Ramis’ honor.)

But it was from this touring company that Second City came to sharing laughs via improv and sketch comedy with the rest of the world, and Columbia has the opportunity to take part in this roving party this Friday night at Harbison Theatre via Second City Remix.

Second City Remix describe themselves as “the next generation of comedy superstars putting their spin on the legendary comedy company’s greatest hits, re-booted and re-imagined for today.”

The October 1st show is the company’s only performance in SC this season and it begins at 7:30.

For tickets visit the Harbison Theatre website and get a $5 off coupon by applying "SecondCityHT" to your purchase.

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For more on the history of Second City, visit their website!

Harbison Theatre Covid Policy

Future Fortune Artist Talk: Dogon Krigga interviewed by Michael Murray at Tapp's Outpost October 3rd, 2021

Tapp's Outpost is excited to host an intimate discussion between Artist Dogon Krigga and Co-host of the Podcast Cultivated Ignorance, Michael Murray, on October 3rd at 4pm. Unpacking the vision and inspiration of the exhibition Future Fortune: A visual treatise on perspective, Dogon and Michael will hone in on the experiences, characters, and world views that shaped the artists visual story line. The talk will also be streamed on Facebook live for those community members who can't participate in person. The show is currently on view at Tapp's Outpost, 715 Saluda Avenue, Columbia, SC 29205, and is free and open to the public Tuesday through Saturday 10am to 6pm

Dogon Krigga expresses magick with the use of pixel and paper. Known as “the keeper of the crossroads between magick and mixed media”, Dogon incorporates divine mysteries, transcribed over time throughout their ancestors’ experiences to connect Black people to the future and the past.

Dogon immortalizes modern and ancient traditions, wisdom, and theory into majestic and whimsical digital and mixed media collages that venerate those that came before, those that will come, and those that exist outside of time. 

Dogon Krigga utilized over a decade of experiences, techniques, knowledge and training as a graphic designer and practitioner of Afrofuturism and other African diasporic traditional religions to illuminate the spiritual paths and possibilities for all whom receive their creations.

Dogon Krigga currently resides where they grew up, in Columbia, SC. Krigga is primarily a self-taught artist, with a creative lineage connected to legends like Romare Bearden and Tom feelings. Their background in creative writing, journalism, and music production also lends to their creative perspective.

Michael A. Murray is a local poet/author who has been writing stories and stanzas ever since his hand could hold a pen. He is also a photographer, filmmaker, podcast host, public speaker, mentor, and founder of the NU GRWTH Artist Collective: a premier conduit that gives black and brown artists of the south the resources, visibility, and appreciation needed to be as influential as their dreams aspire to be.

Since 2016 Michael has joined various creative circles and founded various artistic outlets with one objective constantly in mind: Do whatever it takes to help see both the world and all those who inhabit it reach their highest, truest potential. With this goal at the forefront, Michael founded Playlixt LLC, an event and multi-media based platform built to promote and celebrate artists of various backgrounds and disciplines looking for opportunities to showcase their talents to the masses.
 

The exhibition will be on view September 9th through October 30, 2021. The exhibition is free and open to the public Tuesday through Saturday 12pm to 6pm. Masks and social distancing will be required. For questions about the works on view or Tapp's Outpost, please email caitlin@outpostartspace.org

SC Philharmonic Celebrates Return to its “Groove” With Launch of the 2021/2022 Masterworks Series

“With our ongoing focus on  women composers and composers of color, it is important to bring attention to these composers from the past as well as the present …,”

- Morihiko Nakahara

Morihiko Nakahara - photo by Kevin Kyzer

Morihiko Nakahara - photo by Kevin Kyzer

The South Carolina Philharmonic presents Mendelssohn’s “Scottish”  Symphony Saturday, October 9, 2021, 7:30 PM at the Koger Center for the Arts. This first  concert of the 2021/2022 Masterworks Series features Fanny Mendelssohn-Hensel’s Overture  in C Major, Andrea Gabrieli and Mark Scatterday’s Aria della battaglia, Vivaldi’s Concerto for  Four Violins in B minor and Felix Mendelssohn’s Symphony No. 3 in A minor, op. 56,  “Scottish.” The Vivaldi spotlights SC Phil Concertmaster Mary Lee Taylor Kinosian, and SC Phil  musicians Ashley Horvat, Damir Horvat and Sophie Wang. All concerts this season will be  presented in person and livestreamed. 

Following a season of production challenges because of COVID, Music Director Morihiko  Nakahara mused on the most thrilling way for the SC Philharmonic to return to the Koger Center  for the 2021/2022 Masterworks Series. “Frankly there are many ways for orchestras to celebrate  ‘the return to normalcy,” said Nakahara. “One could feature a huge piece to raise the roof like  Beethoven's 9th, or one could enlist a marquee guest artist. We're taking another approach that  says: ‘this is our musical family, and welcome back to our musical home, both in-person and  virtually.’” 

Nakahara went on to explain that the first concert of the season is continuing the organization’s  artistic goals, while also celebrating the talent within the community. “With our ongoing focus on  women composers and composers of color, it is important to bring attention to these composers from the past as well as the present,” said Nakahara. “We also wanted to create fun ways for  our musical family to get back into the groove, like highlighting several of them in a solo role.  We are doing this with the Vivaldi on this program, and the Bach on the next program. We also  get to highlight various sections of the orchestra in the Gabrieli piece - for example, our winds  and brass sections.” 

The concert will be bookended by pieces that were composed by siblings Fanny and Felix  Mendelssohn. This pairing has been a longtime goal of Nakahara’s. Felix Mendelssohn remains  one of Maestro’s favorite composers since his days playing the clarinet. He believes that the  "Scottish" Symphony highlights the well-documented aspect of Mendelssohn's creative output  as a painter, and expects listeners to hear, see and smell what the composer must have  experienced when becoming inspired in Scotland. Though history doesn’t reveal much about  how Fanny Mendelssohn-Hensel’s Overture in C Major came to be, Nakahara believes listeners can sense Fanny’s joy and excitement in writing for a full orchestra, which makes it a stunning  opener for this concert and for the season. 


Mendelssohn’s “Scottish” Symphony will be presented on Saturday, October 9, 2021 at 7:30 PM  at the Koger Center for the Arts.

Tickets may be purchased at scphilharmonic.com or by calling  the Koger Center Box Office at 803-251-2222.

Audiences are encouraged to visit the Koger  Center’s website to learn about all safety protocols for in-person performances:  kogercenterforthearts.com

The SC Philharmonic will continue to follow CDC and  University of South Carolina guidelines for the safety of the audience and musicians.

For  October 9, audience members will be required to wear masks and are asked to watch the  performance virtually if they are not vaccinated. 



Bohumila Augustinova Carves Shapes and Stories into Clay in New Tiny Gallery Show Layers

As we enter the second half of September and inch closer to fall, so do we mark the halfway point of Jasper’s Tiny Gallery show with Bohumila Augustinova. The show, Layers, presents 20 pottery pieces that highlight, mainly, the Scraffito technique.   

Augustinova spent her childhood in Czechoslovakia, now known as the Czech Republic. She recalls that her younger years were spent always making something and that she could “never keep [her] hands still.” 

“My mom and dad were very supportive, so even as a small child they taught me how to knit, crochet, sew, cook, and use power tools,” Augustinova remembers. “My mom and I used to make all the costumes for me and my brothers, and I was making my own clothes by the time I was 9.” 

Augustinova used this experience and passion to pursue fashion design, which she received a degree in, but soon after, she desired a fresh artistic venture and has since worked with primarily wire art and pottery, being self-taught in both.  

Currently, clay is her preferred medium, but she insists that her and wire are simply on a “break” and that she hopes to integrate them in the future. When it comes to her current technique, Augustinova has been utilizing Scraffito, a “surface decoration technique where color (underglaze) is applied on leather-hard (raw) clay and designs are carved though the color, exposing the clay underneath.”

“When my work closed last year, I figured I needed to stay busy. I could throw a full bag of clay in one day, but then what?” Augustinova pondered, “I took a Scraffito workshop but never had time to explore the technique, so I figured I would just play, and I immediately fell in love with it.” 

Augustinova’s first experiments with Scraffito were doodles from her childhood, and soon, new designs began blossoming before her eyes. Sometimes she already has in mind how she desires a piece to look and pulls it into existence, while sometimes the clay takes shape and flows together into its own identity.  

“Last year I made a mug for my partner inspired by mid-century design, and it was a big hit, so I started messing around with different mid-century designs, which I still love,” Augustinova shares. “I was also working on piece where I was just free handing lines and patterns and then I realized it looks like water, so clearly sitting by the pond inspires me too.”  

Augustinova notes that beyond being inspired to make art, the process of making is inspiring and therapeutic all on its own. She insists that the mutable clay sliding under her hands and the constant hum of the wheel moving is meditative, and she often throws with her eyes closed. 

“After throwing, you apply the underglaze, which I like doing before the actual carving…the carving is where I get lost in my own world,” she says. “I can sit there for hours, listening to whatever I am listening to and work. There have been times when I worked till 2 am or just until I ran out of things to carve.”  

Scraffito is an extremely detailed and precise process that balances this space of being outside and fully within oneself. Even the coloring and glazing process is multilayered—literally—and requires great attention, focus, and a bit of luck with the kiln.  

“I am always looking for good balance of the color I applied and the exposed clay. With pottery and Scraffito, how the piece looks when you finish carving is very different from how it will look after both firings,” Augustinova explains. “After the first firing, the colors will be more vibrant but still a matte finish, and after glazing the colors will come out even deeper and shiny.” 

For this show, specifically, Augustinova has gathered a combination of new and old work, with the goal of offering a large range of sizes and prices for various audiences, but a few pieces were made specifically with this show’s goal in mind. 

“What I hope is that people will see my pottery as usable art. Almost all of my pottery is fully glazed and food safe. I love seeing flower arrangements in my vases, and I love people drinking out of my cups,” Augustinova effuses. “One of my favorite pottery moments was when a friend told me that he was visiting a friend and his tea was served in one of my mugs.” 

If you enter the virtual gallery space, you will see small vases with vibrant designs in pinks and greens, large bowls with detailed carvings in deep jeweled tones, and smooth geometric vases looped with wires that reach to the sky.  

While new to showing pottery, Augustinova is far from new to the Columbia art scene, having managed Anastasia and Friends gallery for several years, worked at the Columbia Art Center (her current occupation), helped lead the Yarnbombers, and won Runaway Runway twice. Her favorite memories as an artist surround this process of making and sharing art. 

“As I am sitting here and answering these questions, I am waiting for the kiln to cool down. I value the moment something comes out of the kiln, and you love it so much you may tear up,” she says. “But it’s also hearing from people how much they love my work. There are few of my friends that have serious collections of my stuff and I just feel so honored by it.”  

In the near future, Augustinova hopes to do new fall and winter shows, and though specific plans are not in place, she will post updates to her Instagram @art_by_bohumila 

To explore Bohumila Augustinova’s pottery, which is only available until the end of September, head over to Jasper’s virtual Tiny Gallery: https://the-jasper-project.square.site/tiny-gallery

Stephanie Allen Questions Perceptions of the Female Form in First Solo Show

“Who owns [the female body]? What does that mean? …begin challenging the way that we look at art versus the way that we look at human beings” — Allen

If you enter Cool Beans to grab an afternoon coffee, waiting in line with you will be a vibrant triptych of the female form. As you find a place to sit, you may cozy up by stark black sketches of a hauntingly familiar—yet distant—woman’s face.

 This rumination on femininity and the body is the work of Stephanie Allen, a senior in Drawing and English at the University of South Carolina (UofSC). Active in the art community, Allen has served as an intern for the Columbia Museum of Art and The Jasper Project as well as edited for The Daily Gamecock. A previous participant in juried and group exhibitions, this is her first solo show. 

Allen is a South Carolina native, having spent her childhood in Charleston before moving to Columbia to attend UofSC. In the past three years, she has experimented with various styles and mediums, and as she grows into herself as an artist, she finds herself circling around questions of gender and connections between the exterior and interior self, based specifically on perceptions of the female body.   

This show is rooted in these questions and presents a journey through the work Allen has created during undergrad, mostly in the past 2 years. The selected pieces are mostly in her two preferred mediums: oil painting and India ink sketches, the latter of which she uses a bamboo stick to create.

 “Oil is so vibrant and saturated, and it also takes much longer to dry, so I'm able to take my time and really work through both the colors and the piece as a whole,” Allen reflects, “When it comes to ink, I like that the drawings are very transparent in that I can't hide when I mess up. There's no erasing, there's no going over—you have to be able to work with mistakes.”

In terms of her evolving style and what she has grown into, Allen finds herself leaning more towards the abstract even though realism is what she most often explored in her early years. Though all the pieces in the show are clearly bodies, they may not always be “realistic” or even show the full body—faces are rarely a part of Allen’s work.  

“Hands are something that I’ve begun to do a lot of. Hands have a capacity to be very emotive, but in a way that’s still anonymous,” Allen explains, “When you see a face emoting, and you're wondering, ‘What is that person thinking about?’, hands still have that and can be evocative in a very similar way without you immediately wondering, ‘Who is that person?’ It gives a much broader definition that takes the focus away from a singular experience.” 

Whereas the feminine form in body or hand allows for an experience that relies less on identity and more on message, two pieces in the show are sketches of a female face. “I think it's the eyes that make it,” Allen says in relation to their bridge between anonymity and identity. The faces, while clearly faces, being sketched over in ink so many times makes them appear both distinctly human yet somewhat inhuman and monstrous at the same time. 

Sitting in this interstitial space between the real and imagined, both as a woman who teaches women’s fitness classes and as an artist who perceives the female body, Allen has had to reckon with her own mindset about women’s bodies, even her own. 

“I think one of the things that I have to try to remember is that there is a gear shift. When I look at drawings or paintings or the feminine form, it’s easy to say, ‘This is art and something beautiful,’” Allen effuses, “But then you see those in real time, and they tend to judge and pinpoint imperfections that simply aren't there. The body is the art, and the body is the person, which is so much more pertinent.”  

With a collection of past work on display, Allen turns her focus to her Honors Thesis and Senior Show, which will expand on these same themes but with a focus on queer women and non-binary people and their relationships with their bodies and femininity. 

“It's going to be an interview-based series, where I interview a subject about their relationship with their body,” Allen divulges, “Then I'll have them pose for me or send a picture of their body for me to sketch. I'm not planning on doing faces in this either.” 

Though it’s still months away, Allen is considering layering the art with realistic drawings based on the individuals’ photographs in the background and abstract paintings derived from the interview responses on plexiglass hanging in front. 

Whether you encounter Allen’s work at Cool Beans or her Senior Show this spring, she hopes you’ll ponder the following: “I hope my work leads to questioning of how we perceive the female form. Who owns it? What does that mean? And then, in that perspective, I hope others begin challenging the way that we look at art versus the way that we look at human beings.”

 Allen’s show will be up until Sunday, October 3rd. Cool Beans, located at 1217 College Street, is open weekdays from 7a - 10p and weekends from 9a - 10p.

 

 

Belly Dancer and Silversmith Ashley Bennett Creates Stories Through Jewelry in Her August Tiny Gallery Show

On August 1st, Jasper unveiled the newest Tiny Gallery featuring Ashley Bennett, the first solo jewelry show in the gallery’s history. Bennett, a dancer and silversmith who runs dance group Tiny Coven and smithing studio Covenite Silver, created 16 pieces throughout July for the show. The show has one week and two pieces left, so take a peek at them and Bennett’s life below. 

Bennett is not a stranger to beautiful art, seeing as she was raised by a “natural singer”—her mother—who was in turn raised by a pianist. A young woman raising a child on her own meant the pair moved quite often, living in Georgia, Ohio, and Michigan. Throughout times of change, though, one thing remained certain.

 “My mom wanted me to have more art in my life, and I always had a wild imagination,” Bennett recalls. “In the 6th grade, my English teacher recommended that I be placed in a magnet school for fine arts, based on my creative writing. I ended up being accepted for music, drama, and dance.”  

While Bennett enjoyed her courses, she found herself struggling to organize her work, time, and thoughts. Unfortunately, due to time and circumstance, she would not have an answer to understanding this part of her identity for years. 

“Thanks to social media and the fact that people understand a lot more about learning and neurodivergence, I'm currently working on getting a diagnosis for adult ADHD and dyslexia,” Bennett divulges, “It's not that I'm excited to have a learning disability—I'm just excited to know that I don't have to feel ashamed of myself for failing at some things.”  

Towards the beginning of this journey of self-understanding, Bennett took a couple of different dance classes, including Appalachian style clogging and belly dancing, the latter of which would become a defining part of her identity. While she did not immediately dedicate herself to belly dancing, Bennett did fall in love with yoga, and serendipitously, with a yoga class taught by belly dancer, Rachel Brice

“My yoga practice was never the same after that,” Bennett shares. “It's now been 16 years since I took my first intensive with Rachel…and only 6 months since we spoke on Zoom about a final project that I completed for her during quarantine.” 

This seeking of the self and interweaving of aspects of life continues to leak through Bennett’s art. Belly dancing and jewelry making are her two passions, and as she has explored each, she has found they speak to one another. Belly dancers, for instance, often partake in their own costume and jewelry design. 

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“One time, when I was brand new and had made my very first ‘bra’ style top, a woman walked up and exclaimed that she owned the exact same embroidered trim that I had used (from JoAnn Fabrics),” Bennett remembers, “After that, I would only buy costume components from vintage and ethnic shops online. I want my audience to be transported to another world, not to the craft store. Keeping everything thing one-of-a-kind, handmade, and rugged is what drew me to smithing.” 

Even today, Bennett emphasizes that any jewelry she creates she would also wear as a costume piece. A balance of dedication and spontaneity are present in both smithing and performing. Individually, they function like a yin and yang with dance focusing on community and smithing focusing on solidarity, coming together to inform one another’s storytelling. 

“Both disciplines involve a hardy dose of improvisation, which I find deeply gratifying,” Bennett says. “And they both bring me so much joy.” 

Whether dance or jewelry, past work or present, Bennett is inspired by the less tangible aspects of the world around her, claiming that she never stopped believing that magic exists naturally within all of us. She hopes to offer a tangible version of that to others, often with pendants inspired by mythical creatures. 

“My approach to costuming is that I want the audience to believe we may have been born wearing our costumes. While I am still mastering the basics of silversmithing, my aim is to create pieces that look like the wearer came into this world wearing them,” Bennett says. “It would hang naturally, and the closures would be difficult to spot. I love when you can look at a piece close-up and still not really be able to tell how it was made.”  

When it comes to this specific Tiny Gallery show, Bennett was motivated by a desire to make one piece of jewelry every day through the month of July and present a fresh, inspired collection. While 2020 provided much free time to smith, 2021 sucked much that time away, and whatever time remained typically went to custom designs. 

“I wanted to challenge myself not to overthink every piece, to just make something from start to finish in one day, and then build the collection one day at a time and see what happens,” Bennett reveals, “July is also my birthday month, so I saw it as an indulgent treat for myself. No customs—just a few hours of improvisation a day and a fistful of pendants made from my favorite stone.”  

Unfortunately, at the end of June, Bennett’s mother fell ill, and she found out she had to vacate her home in 30 days, moving not only her studio but her family and life. July brought not only these shifts but a hernia and broken tooth. Despite these curveballs directly thrown her way, Bennett still made 16 pieces of jewelry throughout the month of July.  

“I hope that those who see my work get a sense of dauntless optimism. Things will work out, and if they don't, something else will happen,” Bennett says. “I am not a Buddhist, but I am comfortably detached from outcomes—and I think that is the secret to happiness.”

Attached to an outcome or not, the results of her show so far are nothing short of wonderful, though not surprising. 14 of 16 pendants have sold, pendants proving that a handmade piece of jewelry holds just as much soul and story as a painting or photograph. The varied tones of the center stones on each piece, shining in emerald and cerulean, hold and project individual tales. 

As a storyteller and artist, Bennett has two opportunities she considers distinctly special. One is interacting with her dance students—who she calls her closest friends and support system—and the other is being a working artist and a mom: “It is a huge privilege to me that I get to raise my daughter in a community of diverse and talented people, like those from our years at Tapp's Arts Center and presently at Sage Studios.”

 If you’d like to support Bennett as an artist, teacher, mother, and human, visit her gallery by the end of the month. Currently, only two of her effervescent pendants remain with only a week left to bring their stories home with you. The gallery is available 24/7 at the Jasper website:

https://the-jasper-project.square.site/tiny-gallery  

After the show, Bennett’s dance company, Tiny Coven, will be working towards ensemble performances this coming fall and spring. She hopes to schedule more collection releases with Covenite Silver in the coming months as well, which you can follow on her Instagram @covenitesilver. Finally, she’d love the chance to show old and new friends alike around her new space at Sage Studios.

-Christina Xan

2021 2nd Act Film Project Postponed Until Spring 2022

Columbia Filmmakers and Friends, 

The Jasper Project has decided to postpone the 2021 2nd Act Film Project until the spring of 2022. As an organization, we feel the risk to the health of our filmmaking community and those they would come in contact with during this year’s project are our top priority as our country continues through these times. 

Much discussion was had with previous participants in the 2nd Act Film Project about having an event this year. The overwhelmingly positive response to moving forward with a 2021 2nd Act Film Project gave us affirmation in the event and about the community that it has helped grow. However, this was during a time when the statistics seemed to say our country’s health was on the mend. Unfortunately, the situation has changed within the past few weeks. 

So, stay tuned for more information as we will have news on a new 2022 2nd Act Film Project calendar shortly. 

Wade Sellers

Producer/Director, Coal Powered Filmworks

President, Jasper Project Board of Directors

7 Questions with Columbia Summer Rep Dance Company's Abby McDowell

Jasper is catching up with some of the members of the Columbia Summer Repertory Theatre in advance of their upcoming summer concerts this Friday and Saturday nights. Today we’re talking with Abby McDowell.

JASPER: Abby, catch us up on you, please. Where are you from and where did you train or work prior to coming to Columbia? 

ABBY: I’m originally from Charlotte and grew up in the school of Charlotte Ballet, where I trained with Patty McBride, Jean-Pierre Bonnefoux, Mark Diamond, and Cathy Moriarty. At 18 I got a position as an apprentice with Charlotte Ballet, and then a position in The Professional Division of Pacific Northwest Ballet School.  I worked as a fellowship with Atlanta Ballet, and then spent 7 years dancing for The Georgia Ballet.  

 

JASPER: When did you come to CCB and what is your position there now? 

ABBY: I joined CCB 7 years ago and was appointed to soloist after my 3rd season with the company.

 

JASPER: What’s the most satisfying role you’ve ever danced? 

ABBY: The role of “Rhythm Girl”  in Balanchine’s Who cares?.  It was originally choreographed on my beloved teacher and mentor Patty McBride who was a muse of George Balanchine.  She was an extremely enigmatic performer, and it was created at a special time in the history of ballet in America, so I feel really honored to have had the opportunity to step into those shoes for a moment!

 

JASPER: What role have you not danced that you really want to? 

ABBY: There are so many! Full length classical would have to be Aurora in Sleeping Beauty because the score is so dreamy, and as a character she really gets to come full circle.  In the neoclassical/contemporary realm I would love to dance in the corps de ballet of Balanchine’s Rubies, anything by Wheeldon or Forsythe, Paul Taylor’s Company B, or Nacho Duato’s Jardi Tancat.

 

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JASPER: What made you want to dance in the Summer Rep Company? 

ABBY: I think that as a dancer it’s important to not only maintain your body as your tool, but to never stop learning and growing as an artist.  This gives me the opportunity to try new things while keeping me moving in the off-season.

JASPER: Do you think dancing in Summer Rep will help you as you go back to your season at CCB this fall? 

ABBY: Of Course!  It’s helped me stay in shape, made me think, and given me the opportunity to move my body in new and different ways. These are all things I’ll take with me into CCB’s upcoming season.

 

JASPER: What piece or pieces are you most excited about sharing with audiences in this week’s show and why? 

ABBY: I really love the Sam Cook Suite we’re doing because it’s light and happy, and I think there’s a lot of people out there who could probably use some of that energy right now!  It’s also a treat to get to dance to live music and Claire plays so beautifully, so Seven is exciting

CSRDC’s Limitless will premiere two consecutive nights:

Friday, August 13th and Saturday, August 14th, both at 8:00pm at Trustus Theatre.

You can purchase tickets at

https://summerrepdance.bpt.me

Chad Henderson Moves to SC Philharmonic

PRESS RELEASE

SOUTH CAROLINA PHILHARMONIC

Chad Henderson

Chad Henderson

 

COLUMBIA, S.C. – The South Carolina Philharmonic welcomes Chad Henderson as the new Marketing and Communications Director. The position, recently held by Kristin Morris, will be filled by the recent Executive Director of Trustus Theatre who resigned from Trustus on July 29, 2021. SC Philharmonic Executive Director Rhonda Hunsinger announced the hiring of Henderson on August 9, 2021, and Henderson’s first day with the SC Philharmonic will be August 16, 2021. 

Henderson, a native of Spartanburg, SC, came to Columbia in 2003 as a student of the South Carolina Honors College. He started his studies at the university as an aspiring professional percussionist at the school of music with a minor in advertising. He later transitioned to a major in advertising and a minor in theatre. Henderson served as Trustus Theatre’s Marketing Director for eight years starting in 2007, was Artistic Director for 5 years, and the organization’s Executive Director throughout the past year - which included the theatre’s closure due to the pandemic and its return to live performance. With 14 years of experience promoting nonprofit arts programming in Columbia, Henderson is excited to join the SC Philharmonic team as they launch their 2021/2022 concert season with live and virtual performances.  

South Carolina Philharmonic Executive Director Rhonda Hunsinger expressed her excitement to welcome Henderson to the team after receiving his application for the position earlier in July 2021. “I have known Chad since his early days at Trustus and have always admired his creative drive and commitment to the arts in Columbia,” said Hunsinger. “As colleagues we have often turned to each other for guidance, and I am delighted that we can now work together to advance the mission of the South Carolina Philharmonic!” 

Henderson’s passion for music, experience in promoting events in Columbia, and his desire to work for an established team of professionals makes him a winning fit for the Marketing and Communications Director position at the South Carolina Philharmonic. “I am a longtime fan of the South Carolina Philharmonic and its programming, and am thrilled to have the opportunity to join their team,” said Henderson. “The leadership at the South Carolina Philharmonic has an amazing track record and tenure, and the Board of Directors has been exemplary in it support of the staff and moving the organization forward. I had the pleasure of talking with various members of the Philharmonic’s artistic family over the past few weeks, and I am so delighted to be able to work for this amazing arts organization.” Henderson intimated that he considered applying for the position when it became available in 2018, but is so grateful to have the Opportunity in 2021.

 SC Philharmonic Mission: The South Carolina Philharmonic is committed to performing live symphonic music and providing dynamic educational opportunities in the Midlands. We carry forward a legacy of passion for the music and embrace our responsibility to be a vibrant part of the cultural fabric of our diverse community.

Columbia Representing at the Rock 'n' Roll Hall of Fame with Capital City Playboys, Hot Lava Monster & Students of the Columbia Arts Academy

When Marty Fort does something, he does it big and he does it right., as evidenced by the more than 1700 families who have enrolled their students in the Columbia Arts Academy, Fort’s multi-instrument arts education facility founded in 2003.

This weekend, Fort is doing what seems to come naturally to the artist/entrepreneur. He, his school, and a couple of his favorite SC bands are taking over the Foster Theatre at the Rock and Roll Hall of Fame in Cleveland, Ohio. And while the most obvious audience of fans, friends, and family may not all be able to be there to cheer them on, (it should be noted that Jasper Project board president Wade Sellers will be on site, in a working capacity, of course), the rest of us can still watch the performance via a live stream either at home or a one of Fort’s three music schools in Columbia, Irmo, or Lexington where live stream parties will be held.

Shane Manning

Shane Manning

Fort is super proud of his students, including one young man, 17-year-old guitarist Shane Manning, son of Shannon and Shawn Manning, who Fort identifies as “an amazing player” who is “on his way to great things if he keeps it up.” There are a total of eight kids taking this once-in-a-lifetime adventure with Fort and they will be performing with their instructors as well as each other.

Hot Lava Monster

Hot Lava Monster

In addition to the kids, Fort is taking along favorite local bands Hot Lava Monster—Patrick Baxley, Wes Pellerin, Jon Hawkins, Mike Schaming—and Capital City Playboys, with whom he plays himself, and they will also be performing

Capital City Playboys -

Capital City Playboys -

Capital City Playboys, whose membership also includes Kevin Brewer and Jay Matheson, recently opened for Cowboy Mouth at the Main Course on Main Street in Columbia and will be performing at the Art Bar on Saturday August 14th along with Greenville’s Silver Tongue Devils and Deaf Web’s Blues Intrusion.

Saturday August 7th

11am - 4pm

https://www.columbiaartsacademy.com/

Columbia Operatic Lab is Everything 2021 Needs from a Badass Opera Company

“This is not your Mee-Maw’s opera …”

Columbia Operatic Laboratory is delighted to be back at Art Bar at 8:00 PM on Friday, August 20 to present a “Notoriously Hot *and Bothered*” concert and the original opera “Four Singers Walk into A Bar.”

The concert will feature music from opera and musicals that will take you from the heat of passionate love to the flames of anger, to the pits of Hell, and back to the sweltering heat of our fair city. Who knows what you will hear or what special guest stars may appear?

Four Singers Walk into a Bar tells the story of four singers who walk into a bar to sing and try to pick up dates. While they sing in foreign languages, there is a handy-dandy live translator to provide an English translation and a bit of color commentary. Columbia Operatic Laboratory founding member Maria Beery wrote the show as a way to make a recital of arias and scenes more interesting by weaving a plot through them. While the music is hundreds of years old, the stories are current and relatable.

This is not your Mee-Maw’s opera, and you do not need a music degree to enjoy a special evening of live entertainment.

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Performers for the evening include singers Maria Beery, Michael Brown, Evelyn Clary, Jennifer Mitchell, and Craig Price, translator Andrew Skaggs, and collaborative pianist Bradley Fuller.

Art Bar is located at 1211 Park Street in Columbia.  There will be a $5 cover, and donations will be gratefully accepted.

Columbia Operatic Laboratory, Inc. is a 501-c3 nonprofit aimed at providing arts educating in the field of opera. For more information, follow us on Facebook and Instagram.

Photo Credits – Michael Brown and Jerryana Williams-Bibiloni

EDITORIAL: Thoughts on Trustus Theatre as Chad Henderson Takes His Leave

By Cindi Boiter - Editor, Jasper Magazine

Chad accepting the SC Theatre Association’s Founders Award in 2018

Chad accepting the SC Theatre Association’s Founders Award in 2018

By now, many if not most of the area’s artists and arts lovers have learned that Chad Henderson has left his post as executive director of Trustus Theatre for new stage sets and designs and new characters to coax into life. (Full disclosure: Chad is my son-in-law. That said, I have been a massive fan and supporter of Trustus Theatre for decades and have served on the board of directors under two artistic directors, including co-founder Jim Thigpen. It is from the perspective of someone who prizes Trustus and the role it plays in the greater arts community that I write this piece.)

Like pretty much everyone, I am sad to see Chad go though I firmly believe it is a smart thing for him to do.

It can be argued that Chad has more talent and potential for creative possibility than could continue to healthily grow in that small but fertile space on Lady Street.

I get that.

In the current structure of most non-profit arts organizations one can only grow as great as one’s board of directors is comfortable with.  It doesn’t matter if you’re an artist or an ED, in the non-profit world we all labor under a collection of thumbs that could fall at any time. It’s easy to imagine a creative spirit straining against the well-meaning confines of a rotating organization of seat-fillers to fully realize that spirit’s potential to break some windows and rattle some doors.

Kudos to Chad for leaving Trustus before this became the case.

As a theatre autodidact and someone who has been lucky to travel a bit and see my share of theatre throughout the US and Europe, I can honestly say that some of the best performances I have ever seen have been on the stage at Trustus Theatre.

I’m reminded of Tarell Alvin McCraney’s Brother/Sister plays, specifically In the Red and Brown Water, which Chad directed in 2015 featuring Avery Bateman and a cast-iron solid cast that included actors like Katrina Blanding and Annette Dees Grievous whose voices I couldn’t get out of my head for weeks after seeing it.

The next year, Chad directed part two of McCraney’s trilogy, The Brothers Size, with Jabar Hankins, Bakari Lebby, and Leven Jackson. I remember walking into the Side Door Theatre and being welcomed by the sounds of cicadas and seeing twinkling lights—lightening bugs—throughout the air. I saw that show three times just so I could watch Jabar’s face and hear his voice crack with love and pain.

I am also reminded of seeing Paul Kaufmann in the one-man play, I Am My Own Wife, directed by Ellen Schlaefer in the Side Door in 2012, after having seen Jefferson Mays in the role at the Lyceum on Broadway. I liked Paul better.

Spring Awakening, Next to Normal, Avenue Q – the list goes on. All of these plays left me, time and again, in awe that you could see this caliber of performance in a  grubby little theatre down the street from wherever you are in town.

No, Chad didn’t direct all the paradigm shifting plays we’ve seen at Trustus. Though it’s no coincidence that many of the plays he scheduled or directed were in keeping with the kind of avant-garde theatrical art that Jim and Kay Thigpen envisioned producing when they started the theatre.

So, as pleased as I am to see Chad move on to the next stage, wherever he finds it, I worry about Trustus.

Don’t get me wrong, I have immense faith in Dewey Scott-Wiley as she steps in as interim director. Dewey is smart, sophisticated, talented, and responsible. There is no one else in town who could do the job she will be doing as well as she will do it.

And that’s the problem. It’s doubtful that Dewey would take the helm of running Trustus permanently. Dewey already has a job and a life.

And make no mistake, whoever takes over running Trustus will not just be taking on a job. They will also be taking on a life. There’s not enough support staff in the world, and there are certainly not enough numbers before the decimal point in the ED’s salary to entice most people who are good enough to do the job to actually do it long-term.

Because running a theatre like Trustus is  a lot like raising a child. For Jim and Kay, Trustus was their child. For Chad, the theatre was a family member he was both emotionally, intellectually, and creatively connected to in that they grew alongside each other for over 14 years. Trustus made Chad the man he is today, and Chad certainly did his part in making Trustus the theatre it is.

I worry that kind of relationship was what kept Trustus going even after Jim and Kay left. And I worry about what will happen in the absence of that kind of relationship.

Trustus has built an enviable reputation among its organizational peers in South Carolina, sharing equity actors, directors, and innovations with other top theatrical minds. Will those relationships be maintained and nurtured? Will they be respected for how they elevate the art form throughout the state? Or will we just worry about our small circles of friends and supporters because that’s the easiest thing to do?

When the board puts pressure on the permanent replacement staff to pay the bills will whoever is behind the wheel resort to producing hokey Southern schlep just to fill the seats? Will they simply recycle previously successful productions and, if so, how many times will theatre audiences pay to see the same show again, and again, and again? God knows you cannot grow audiences that way!

Or worse, will they slump to the lowest of lows and cast local celebrities, moneyed patrons, or God-forbid, CHILDREN in roles just so the “actors’” doting fans and relatives will buy tickets and put butts in seats?

I mean, I have nothing against community theatre. In fact, I love community theatre. But Columbia and its bedroom communities have community theatre out the wazoo, and that's fabulous. Everybody needs a stage at some point, but the stage doesn't need every body. (I’m reminded of a local production of Cats I once saw …)

Trustus has set the standard for professional theatre in the area and believe me, there is as much a difference between professional theatre and community theatre as there is between professional dance and dance school recitals.

I worry.

As proud and happy for Chad as I am, I sincerely hope Trustus Theatre will continue to be the touchstone for avant-garde artistic experiences in the region that it has been since 1985. As a literary artist and an arts afficionado myself, I need this.

To the powers that be, a few requests:

Please respect the culture of the theatre that Jim, Kay, Dewey, Larry, Chad, and the whole Trustus Family has put so much of themselves into creating. It may not be perfect, but it is fertile, it is forgiving, and it accepts people for who they are and what they bring to the table, recognizing that genius is seldom faultless.

Please be careful filling this position, but don’t be too safe.

Please remember there are many ways to interpret integrity and dedication and the best person for the job may not be as sweet-talking or as clean behind their ears as you might like. It takes a lot of bodily fluids to maintain and grow an artistic brand like Trustus.

Trustus had Chad’s heart and he was as devoted to its legacy as a best big brother could be.  I wouldn’t want to be in the shoes of the people who have to try to replace him.

But good luck. 

Chad Henderson and Trustus Co-Founder Kay Thigpen

Chad Henderson and Trustus Co-Founder Kay Thigpen