Directed by Eilin O’Dea
Review by Brenda Repland
Jean Anouilh adapted Antigone during the Nazi occupation of France. In a very timely production, it explores the power of political protest and civil disobedience during a time of tyranny. It became a symbol to French loyalists who viewed the heroine’s defiance as a passionate appeal for resistance.
Presented by the Fusion Theatre, this is an interesting merging (fusion) of opera, Greek tragedy and relevant issues. Their mission is to strengthen classic plays with the great art of opera. Many of the characters and their lines could be current and given the political times. As example, the police vowing that they are “ready to arrest anyone.”
Eilin O’Dea as Antigone opens with “Pace, pace, mio Dio!” (Peace, peace, my God) from Verdi’s La Forza del destino. She has a beautiful voice but would benefit from a larger venue as it was overpowering in a smaller space. Subsequent arias, sung by cast members were all well delivered.
The Greek chorus gradually dispersed and became the play’s characters. The casting was excellent with Paul Goodwin Groen a perfect (King) Creon and Igby Rigney a marvelous Page with superb diction and animation. Unfortunately, Ms. O’Dea’s heavy Irish accent was quite distracting, reminding the audience with her every word that we were not in Thebes but perhaps the Abbey Theatre.
BMCC Tribeca Performing Arts Center Presents
Lost Jazz Shrines 2017:
Remembering Art Blakey and the Jazz Messengers at Mikell’s Jazz Club
Bobby Watson (Musical Director/Alto Saxophone)
Javon Jackson (Tenor Saxophone)
Brian Lynch (Trumpet)
Johnny O’Neal (Piano)
Essiet Okon Essiet (Bass)
Ralph Peterson (Drums)
Review by Brenda Repland
As if the 93o temperature was not hot enough, Bobby Watson led the Jazz Messengers in performance at BMCC Tribeca Performing Arts Center on Friday of HOT jazz.
The tribute was to Art Blakey, also known as “Buhaina” or “Bu,” who was often called the father of hard bop. Mr. Watson recalled that Blakey was jazz’s best talent scout and was responsible for producing and developing that talent. His band was called The Jazz Messengers and were often referred to at the Blakey School of Music.
Of the many highlights, here is a sampling –
“Web City” by Bud Powell which featured both alto and tenor saxophones and a
“A Wheel in in a Wheel” by Bobby Watson. It may be the first jazz waltz I’ve ever
heard and it was terrific with sax, trumpet and piano solos.
“In A Sentimental Mood,” by Duke Ellington with alto sax and trumpet solos and duet.
“Miss BC” by Pam (Mrs. Bobby) Watson.
I’m sure Art Blakey would have loved it. The audience certainly did!