REVIEW: Soprano-actress Christina Pecce puts her own spin on a few famous faces in fabulous ‘Witches, Bitches, and Divas!’

In a white suit and glittering heels, soprano and actress Christina Pecce may have paid homage to Beyonce (her style reminiscent of Beyonce’s suit at the Superbowl 50 halftime show), but certainly stepped into quite a few famous shoes with ‘Witches, Bitches, and Divas,’ a one night only, one woman cabaret that took place at the American Repertory Theatre’s (A.R.T.) Oberon Theatre in Cambridge, Massachusetts on Sunday, September 8.  Click here for a closer look at ‘Witches, Bitches, and Divas!’ and here to see where Christina will perform next.

Don’t be deceived by the title.  No witches, bitches, or divas actually appear in the show unless you are referring to “every woman” Christina Pecce.  Her one woman show steps into all three categories to create a partly auto-biographical and comedic musical show covering the likes of Elphaba (Witch) from the Tony award-winning hit musical ‘Wicked,’ Miss Hannigan from the classic musical, ‘Annie‘ (Bitch, if left to interpretation), and diva Mariah Carey.  She also chooses zany selections about marriage and shows off her classically-trained vocal talents performing a soaring French opera and then a tonally-deaf singer with Flanders and Swann’s A Word to My Ear.  The bottom line is Christina Pecce can sing just about anything.

Witches Bitches and Divas Oberon Cambridge

The Oberon in Cambridge, Massachusetts Photo credit to Witches, Bitches and Divas

Accompanied by a trio of powerhouse musicians which included Music Director Steve Bass on piano, drummer George Darrah, and bassist Nick Francese, Christina brings humor and personal anecdotes while adding her own spin to various medleys.  She tackles subjects like nannies, drinking, and gravity and even sneaks in an amusing little drinking game too.

From Sondheim to Nat King Cole, Christina makes her time onstage an unpredictable, interactive treat as she occasionally wanders through the crowd, serenading a few audience members.  She also left a piece of her heart onstage in a stirring rendition of Sondheim’s ‘Being Alive.’  Pecce last appeared at the Oberon in February and from the glowing reception she received when she returned, it certainly will not be her last time.

American Repertory Theatre’s Oberon is an intimate and inviting night club without a bad seat in the house that welcomes a variety of shows throughout the year.  Located at 2 Arrow Street in Cambridge, Massachusetts, the Oberon is American Repertory Theatre’s second stage for theatre and nightlife.  Click here for upcoming events at the Oberon, here to learn more about Christina Pecce, and here for more about the American Repertory Theatre.

 

 

 

REVIEW: Immersive and insightful, Museum of Science’s ‘Medusa: Reclaiming the Myth’ cleverly reveals the woman behind the monster

The beauty of mythology is how outlandish a tale can be while still conveying a powerful, contemporary message.  ‘Medusa: Reclaiming the Myth‘ with ‘What Time is it, Mr. Fox?’ is an immersive, multimedia experience that weaves live music with a classic tale…and a twist.

For three Thursday nights during the summer with a final performance that took place on August 22, The Museum of Science in Boston’s Charles Hayden Planetarium presented a theatrical experience that conveyed messages of female empowerment, human nature’s capacity for cruelty and shallowness, and more through this classic mythological tale.  Click here for the full trailer.

It was part of an adult series (18+) which continues with ‘Subspace:  Redefining the Adult Experience’ throughout the fall.  This dynamic series includes Storytelling, Halloween Happening, the music of Stevie Nicks, a night with Isabella Rossellini, and much more.  The Museum of Science is located at 1 Science Park in Boston, Massachusetts.  Click here for the full schedule and ticket information.

Medusa: Reclaiming the Myth

Imagery of the legendary creature, Medusa Photo credit to ‘Medusa: Reclaiming the Myth’

‘Man plans and God laughs’ takes on a whole new meaning when breathtakingly beautiful Medusa plans to become a priestess to Athena.  However, what she thought was her path became a sordid journey.  Told in flashback in Crete 1100 B.C., ‘Medusa: Reclaiming the Myth’ offered humor, violence, and beauty weaved into an insightful, message-driven tale.

Packed with illustrations depicted more artistically than realistically by animators Ruth Lingford and Norah Solorzano, this panoramic experience combined with the Charles Hayden Planetarium’s supersonic sound creates a mesmerizing journey through the world of Ancient Greece.  Rich blue skies, the star-studded cosmos, and dark, raging oceans were just glimpses into this mesmerizing experience.

Medusa - mrfoxlineuplogo_orig

The band, ‘What Time is it, Mr. Fox?’ Photo credit to ‘What Time is it, Mr. Fox?’

As the tale unfolded, the haunting and emotive sounds of acoustic neo-soul group, ‘What Time is it, Mr. Fox’ performed original songs that emphasized the madness, grief, tyranny, and danger within this tale.  With vivid lyrics such as, “We can do a lot more with this kind of rage,” “Trying to breathe while learning to drown,” and “You’re going to wind up dead if the devil gets in,” this dynamic group’s jazz-infused interludes between scenes not only enhanced what the characters were thinking, but the journey itself.  Front and center and bathed in blue light, a few of the most beautiful orchestrations included On Fire, Learning to Drown, The Witness, and Into the Black.

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The men were depicted as arrogant and narcissistic and the conversations between the gods had their moments of humor, chemistry, gossip, and power talks.  However, what made the tale so intriguing was it offered a more rounded, sympathetic view of the legendary Medusa while sharing various interpretations of her through statues and illustrations.  ‘Medusa: Reclaiming the Myth’ means to shatter those preconceived notions of this mythological, snake-haired creature and bring her to a place of mercy and anguish, powerful but yielding, and facing issues that were not so different than they are today.  She was a myth, a monster, but still a woman.

Though this show has completed its run, ‘Medusa: Reclaiming the Myth’ may still have a future beyond its time at the Museum of Science.  Click here to learn more about ‘Medusa Reclaiming the Myth’ and here for more on the band, ‘What Time is It, Mr. Fox.’  The Museum of Science offers programs throughout the year and continues ‘Subspace Redefining the Adult Experience‘ through the fall.

 

 

 

 

 

REVIEW: ‘Star Wars: A New Hope in Concert’ with live orchestration from the Boston Pops a thrilling cinematic achievement

No better way to witness a galaxy far, far away.

It has become a beloved Boston Pops tradition to exhibit the finest films in cinema history enhanced by the stellar sounds of the Boston Pops, an immersive film experience performed so eloquently, one may never watch the film quite the same way again.  In the past few years, The Boston Pops has inventively breathed new life into film classics such as ‘The Wizard of Oz,’ ‘West Side Story,’ ‘Singin’ in the Rain,’ ‘Psycho,’ ‘Home Alone,’ ‘Raiders of the Lost Ark,’ and ‘Nosferatu‘ through stunning live orchestration and Star Wars lives up to that sterling reputation.

The re-mastered, extended version of ‘Star Wars: A New Hope in Concert‘ with live orchestration by the Boston Pops was held at Symphony Hall earlier this spring and then recently in the Koussevitzky Music Shed at the Tanglewood in Lenox, MA on August 16.  The ninth film and epic conclusion of the Star Wars series, ‘Star Wars: The Rise of Skywalker‘ arrives in theatres in December and what better way to welcome the end than by remembering the beginning.

John Williams at Tanglewood (Hilary Scott)

John Williams conducting Film Night at Tanglewood Photo credit to Hilary Scott

Academy award-winning composer John Williams has been the name on everyone’s lips at Tanglewood for the past couple of weeks with ‘Star Wars: A New Hope in Concert‘ on Friday, August 16 and then the ever-popular ‘Film Night’ on August 24, an annual tribute concert featuring just a few of the acclaimed film scores of John Williams.  Not only did John Williams make an appearance at the end of the August 16th performance, but Patriots owner Robert Kraft was also in the audience.  Click here for more information, tickets, and a look at Tanglewood’s full schedule.

Keith Lockhart Leads the Boston Pops at Tanglewood (Hilary Scott)

Keith Lockhart leads the Boston Pops at Tanglewood Photo courtesy of Hilary Scott

Conducted by acclaimed Boston Pops conductor Keith Lockhart, The Boston Pops launched an enthusiastic audience into that beloved galaxy with ‘Star Wars: Episode IV A New Hope,’ the first film in what would become a beloved series of films in 1977.  The rising swell of the perilous, suspenseful, triumphant, and Academy award-winning Star Wars Main Theme from John Williams was just the start of this exciting film that has been thought to be a touchstone to future films in that genre while also possessing some classic Shakespearean roots.

The intense score, each crisp note from the orchestra, the sound that thundered in the Koussevitzky Shed was nothing that can be relived in front of a television screen or in a movie theatre.  It felt like being in the studio with the cast, enhancing their already outstanding performances, and scoring the film for the first time.

Star Wars A New Hope

Mark Hamill as Luke Skywalker, Carrie Fisher as Princess Leia, and Harrison Ford as Han Solo in ‘Star Wars: A New Hope’ Photo credit to Disney/Lucasfilm

The lively audience was clearly composed of some of the most devoted Star Wars fans cheering   not only the opening of the film, but each major character as they were first introduced onscreen.  Familiar faces such as the twinkling eyes and swaggering charisma of Harrison Ford’s Han Solo, Peter Mayhew’s towering presence as Chewbacca, Carrie Fisher’s holographic appearance as Princess Leia as she utters the classic line, “Help me, Obi-Wan Kenobi.  You’re my Only Hope,” Alec Guinness as the wise and mysterious Obi-Wan Kenobi, Mark Hamill’s naïve Luke Skywalker, and James Earl Jones as the timeless voice of Darth Vader were all greeted with rousing applause.

Set on the planet with two suns, the subtle humor, the scheming, the epic adventure, George Lucas’s marvelous characters, the dazzling technology of its time, the bickering between R2-D2 and C-3PO and between Han Solo and Princess Leia are all recaptured in this unforgettable cinematic experience.

The Lawn at Tanglewood 2016 (Hilary Scott)

The Lawn at Tanglewood 2016 Photo credit to Hilary Scott

Located in the Berkshires at 297 West Street in Lenox, Massachusetts and now year-round, Tanglewood’s outdoor venue is a must see, whether under the tent at Koussevitzky Shed or under the stars for a lawn picnic.  Click here for Tanglewood’s full schedule follow them on Facebook.

Exploring theatre, nature, space and more, Boston Landmarks Orchestra’s Christopher Wilkins talks depth and diversity in free summer concert series

From exploring live theatre and music to nature to science to space as well as taking on racism, climate change, and many more important topics all involving a vast array of community members, organizations, and performers, Boston Landmarks Orchestra is so much more than a beautiful free Wednesday night concert outing at the Esplanade.  Boston Landmarks Orchestra Gala will celebrate 90 years of free concerts on the Esplanade in October.

WCRB is a media partner for the Boston Landmarks free concert series.  Click here for Boston Landmarks Orchestra’s complete summer schedule at Boston’s renowned Hatch Shell and here for further details on the upcoming Gala.

It was an honor to speak with Christopher Wilkins, Boston Landmarks Orchestra’s conductor and Music Director, who took time out of his busy schedule to discuss the highlights of the Boston Landmarks Orchestra’s summer season and what is coming up.

The Sleepless Critic:  The season kicked off on July 10 with the second annual “Season Tune-Up” party.  What was that like?

Christopher Wilkins:  It was a gorgeous night with a great turn out.  Lots of children attended and we introduced our audience to many of our partner organizations which include musical organizations, music educational schools, and partners like the New England Aquarium and the Museum of Science.  The “Season Tune-Up” Party featured fun games, a performance from the Everett High School band, and our Maestro Zone where kids can step up at the podium, wave the baton, look at a score, and get a conducting lesson.  We offer Maestro Zone at our regular concerts as well.

Boston Landmarks Orchestra Maestro Zone Assistant Conductor Shuang Fan

The Maestro Zone with Maestro Zone Assistant Conductor Shuang Fan

SC:  We’ve been blessed with some beautiful nights this summer.  You have been the Music Director and conductor for the Boston Landmarks Orchestra since 2011.  What has it been like for you collaborating with different theatres and new works each year?

CW:  Our mission is to engage as many Bostonians as possible from all walks of life and one of our strategies is to develop partnerships.  They feature an array of organizations to get their fans, their folks, and their constituency excited to come to a concert and work with us.

One of our best strategies is to create composer residencies in different neighborhoods around Boston so people who might not ever encounter an orchestra can develop some way of making music or dancing or some other performing art that they can bring to our stage and perform with the orchestra. We have a lot of inexperienced young performers throughout the summer and some who have never been onstage before.   We do all that along with an eclectic lineup of Dvorak, Broadway, symphonies, and a great choral repertoire.

SC:  It must be an incredible experience to see how everybody interacts with each other and how it turns out onstage.

CW:  It’s wonderful to perform it in the Hatch Shell because it is an iconic venue, people associate it with orchestral music, and it is in the heart of the city.  The Hatch Shell is also quite enormous. We can fit 5,000 people or more at our concerts and that is typically what we draw when the weather is nice.

SC:  Such depth in a free event.

CW:  It’s important to many people that can’t afford to come otherwise.  It’s also a powerful emblem of the idea of universal access.  Everybody is welcome.

We just think about access barriers, which are not only economic.  Cultural assumptions in a community can cause people to stay away.  At Landmarks, we think deeply about what those barriers are and do what we can to get rid of them.

SC:  Yes, and you have held many events so far this season.  For example, you recently celebrated the 50th anniversary of the Moon Landing with Symphonic Space Odyssey.  How did you pay tribute to this historic event?

CW:  We performed that in Jordan Hall because it was a stormy night.  Jordan Hall is one of the most beautiful venues in America and the sound indoors just rattles your bones.  We didn’t have to change the program at all, just the venue.

The Moon Landing is one of the most amazing achievements in the history of mankind.  It was an awesome night and we celebrated it with the Museum of Science which was perfect because they have had an exhibition ever since the moon landing occurred.  The Museum of Science prepared fabulous video footage relating to the moon landing, space travel, rockets, and deep space taken from materials produced in house at the Hayden Planetarium for their full dome experience.

SC:  What are you most looking forward to this season?

CW:  Each week is so over the top that it’s hard to pick a favorite.  We have a wonderful collaboration on August 14 with the New England Aquarium featuring some remarkable video material that will be synchronized live to the orchestra.

Boston Landmarks Orchestra New England Aquarium

Boston Landmarks Orchestra partners with the New England Aquarium for a free concert on August 14 Photo courtesy of Boston Landmarks Orchestra/New England Aquarium

The subject is climate change and we’re performing Vaughan Williams Symphonia Antarctica which is originally a film score, but now set to a more recent film made by Natural History New Zealand featuring all shots from Antarctica.

Then we have a beautiful photographic sequence put together by Boston Globe writer David Arnold called “Above and Below.”  He’s taken Brad Washburn’s iconic aerial photographs of glaciers and coral reefs mostly from the 1930’s and then taking the same shots today.  Of course what you see is a devastating record of loss set to Adagio for Strings.  The program also includes optimistic shots from Boston Harbor and other places from then and now which shows tremendous improvement environmentally and send the message that we can do something about climate change.

We did an extremely interesting panel discussion recently which has some caused useful and in depth panel conversation called “Who Should Sing Ol’ Man River?” around race and the portrayal of racial themes at WBUR CitySpace.  Our moderator was Emmett G Price III, a celebrity in Boston and a wonderful musician, historian, pastor, and radio personality.  It was a wonderfully experienced and informed panel who weighed in on a lot of these questions and shaped how we put together the following week’s concert.

Boston Landmarks Orchestra Alvy Powell

Bass Bariton Alvy Powell Photo courtesy of Boston Landmarks Orchestra

SC:  Ol’ Man River from Rodgers and Hammerstein’s “Showboat” is such an amazing song and I’ve seen it done is so many different ways.

CW:  It’s a showstopper.  Our base Alvy Powell has sung Ol’ Man River in the White House for the last six sitting Presidents in a row.  He sang it at George H.W. Bush’s funeral at President Bush and his wife Barbara’s request.  He also sang it at Gerald Ford’s funeral.  If anyone should sing Ol’ Man River, it’s Alvy Powell and he performed it that night.

SC:  What kind of conversation sprung from that panel?

CW:  That’s a good question.  We got into questions of language, dialect, the history of black music, and cultural appropriation.  Quite an interesting segment was when we were looking at where we go from here.  One of our panelists was Ashleigh Gordon, founder of an organization that has attracted a lot of praise and attention called Castle of Our Skins.  It celebrates African American composers and performers.  She’s done an amazing job furthering the discussion and coming up with creative ways of producing eye catching programming.

They are opening a permanent set of offices at the Boston Center for the Arts.  We are collaborating with Ashleigh, Castle of Our Skins and Anthony Green, a composer she works with frequently on the Esplanade on August 21 for our Landmarks Dance Night.  The project surrounds the music and dance of Haiti because we are also including the Jean Appolon Expressions Dance Company.

Boston Landmarks Orchestra Jennifer Ellis Matthew DiBattista, Maesto Wilkins, and One City Choir

Christopher Wilkins with Jennifer Ellis Matthew DiBattista, Maesto Wilkins, and One City Choir Photo courtesy of Boston Landmarks Orchestra

It’s often our best vehicle for showcasing the diversity of traditions and types of cultural expression.  I grew up here, but the city is infinitely more diverse now than it was when I grew up.

SC:  Absolutely.  What have you liked most over your time with the Boston Landmarks Orchestra?

CW:  We’ve had lots of great moments over the last eight or nine years.  My first concert was conducting Beethoven’s 9th at Fenway Park so that is pretty hard to top.  We did an amazing night celebrating the 50th anniversary of Martin Luther King’s I Have a Dream Speech with Governor Deval Patrick as our narrator and featuring a lot of video and photographic imagery.

We did a memorable collaboration with the Isabella Stewart Gardner Museum when their director, Peggy Fogelman, first arrived in Boston.  Another highlight was a series of programs with Commonwealth Shakespeare Company.  We performed full productions of musicals or a Shakespeare play such as “Midsummer Night’s Dream” with Mendelssohn.

The musicians learn something they know so well and are able to put it into the context of the play while the actors now can play off a symphony.  Now how often does that happen?   It is amazing for the performers and the audience.

SC:  You’ve performed all over the United States.  What do you like best about your time with the Boston Landmarks Orchestra?

CW:  I love our mission.  It’s readily understandable to most people in the community which I think is why we are receiving increasing levels of support from all quarters from individuals and foundations and from political reps because we are using great music with its level of complexity, depth, and emotional appeal and a first class professional orchestra as a means to gather community together.

I don’t know another orchestra that has a mission defined in this way.  I learn a lot and meet all kinds of interesting people doing interesting work.  We get to come together in a musical setting and it’s almost guaranteed everybody has a wonderful time.

Sit back and enjoy the Boston Landmarks Orchestra free every Wednesday night.  Click here for the full schedule and how to support future concerts.

 

 

 

 

 

 

 

 

 

 

 

 

 

REVIEW: Multi-talented Hugh Jackman wows at the TD Garden

Is multi-talented Hugh Jackman better on film or onstage?

Is it worth seeing him when he comes back to Boston?  Is he the Greatest Showman?

One thing is certain – Hugh Jackman is the genuine article.

Some actors who decide to go on tour put on self-indulgent shows of their history in show business and share their general musings about life to promote their next album or film.  They might even sing a song or two.  However, outside the studio, they can’t really sing or dance.   People cheer, even if the show isn’t what they were expecting, but they remember that guy in that film or show who was so great in those roles, and that is enough.

Hugh is one talented guy.  He is a Tony, Emmy, and Grammy award-winner as well as a Golden Globe and Academy Award-nominee.  He has also been on the other side of acting as host of the Academy and Tony Awards.  For his 50th birthday, he wished to go on a world-wide tour.

Hugh Jackman’s ‘The Man. The Music.  The Show.’ will continue through October 20, 2019. Click here for show dates.  He’ll also return to Boston’s TD Garden for one more performance on Tuesday, October 1.

Hugh Jackman the Tour

Photo credit to Hugh Jackman The Show

The morning of Hugh’s appearance on Thursday, June 27 at the TD Garden, Hugh Jackman made a surprise appearance serving coffee from a coffee truck in Boston to promote his charity work with ‘The Laughing Man Cafe and Foundation.’  A loyal Bruins fan, he called performing in Boston one of his big dreams.

As superhero Wolverine (in which he demonstrates an onstage pose or two), he shows his dynamic range.  Decked out at first in a white tux, he runs the gamut of styles from flashy costumes to more casual attire with no ringleader costume in sight.  Though he reminisces about his career with a realistic look at his dogged pursuit to find success as an actor, he seems like a humble, funny, and approachable guy.

A family friendly show, he keeps the crowd moving with a broad range of music.  From reaching into an old school vibe with selections such as I’ve Got Rhythm and Mac the Knife to tap dancing to AC/DC to performing a vast selection of musical theatre including lighting up the stage with selections from ‘The Greatest Showman,’ the show has a universal appeal though especially for the theatre buff.  He joins Kaley McKnight onstage to perform a stunning, powerful rendition of This is Me and a sweeping ‘Les Miserables‘ medley.  He also joined members of the Boston Children’s Chorus for a stirring rendition of You Will Be Found from the hit musical, ‘Dear Evan Hansen.’

Hugh Jackman stage

Hugh Jackman at TD Garden in Boston, Massachusetts Photo courtesy of Jeanne Denizard

The second half of the show does not outdo the first, but he demonstrates his range further in the second.  It actually gets a bit trippy during his ode to his Australian idol, Peter Allen in which Hugh won a Tony Award for his portrayal as Peter in ‘The Boy From Oz.’  Peter was not only known for songs such as Don’t Cry Out Loud and Arthur’s Theme, but for his over-the-top stage performances.  He also welcomes the audience into his native Australia by recreating the outback, claiming it as one of his most out-of-this-world experiences he has ever had.

So, to answer those questions, I prefer Hugh in his epic films, but he is undeniably a wonderful performer.  The very best is a lot to ask, but his dynamic range is truly great and worth watching on tour or when he returns to Boston in October.  You will no doubt recognize the sheer talent that he has developed over decades of being a singer, a dancer, theater actor, movie star, and a hero.

REVIEW: Currently on tour, The Whiskey Treaty Roadshow raised the roof at Club Passim for album release party

Part of what makes folk music fascinating are the inflections of various genres weaved into each track.  Add some insightful lyrics and it creates its own unique journey.  Unlike other music genres, folk experiments a wide variety of eclectic rhythms.  Currently on tour, rock and roots folk music band The Whiskey Treaty Roadshow does one better.  Each band member writes and performs their own songs, voiced from their own perspectives.

Very much a collaborative band, The Whiskey Treaty Roadshow, made up of singer-songwriters and musicians Greg Smith, David Tanklefsky, Billy KeaneTory Hanna, and banjo picker Chris Merenda all have distinctive styles, but when they collaborate, it is spot on.  They have attended songwriting retreats together and collaborate on each of their compositions in various stages of completion, so everything syncs with the band’s sound the way it should.

Whiskey Treaty Roadshow Tour Schedule 2019

The “Band Together” tour schedule Photo courtesy of The Whiskey Treaty Roadshow

The Whiskey Treaty Roadshow returned to Club Passim celebrating the release of their new album, ‘Band Together‘ and played for some familiar faces on June 7.  With band members hailing from different parts of Massachusetts including the Berkshires and Boston, the sold out crowd was thrilled as each of its five members made their individual entrances onto Club Passim’s stage.  Click here to see where The Whiskey Treaty Roadshow will appear next, here for an interview with band member, David Tanklefsky, and here for more on Club Passim.

Sam Chase from Scituate opened for the Whiskey Treaty Roadshow, and there was a brief intermission before the band took the stage.  From quiet, horn-infused reflections in ‘Reasons‘ to the rolling and the ebb and flow rhythms of ‘Jimmy the Whiskey Boy,’ ‘Rock n Roll Déjà Vu,’ and ‘Perfect Day,’ to the lightning-fast, freestyle tempo of ‘Born to Pick Bluegrass’ to observations on the current state of the world with ‘Hey Lady,’ ‘Close to the Edge,’ and ‘Pass the Peace,’ The Whiskey Treaty Roadshow delivered a variety of insightful, optimistic songs as each band member took the lead to tell their story.

Telling jokes, improvising, and revealing some inspiration behind their songs, it is easy to see their breezy camaraderie as they make the most out of Club Passim’s intimate stage.  Dressed casually in jeans and distinctive hats (one band member in a signed tank top), their music travels an eclectic emotional spectrum, from acoustic to electric with lyric-heavy compositions tinged in rock, reggae, roots, country, and blues.  Passersby outside peaked into Club Passim’s lower level concert space as the band performed for an enthusiastic crowd.

The Whiskey Treaty Roadshow band

Whiskey Treaty Roadshow – Billy Keane, David Tanklefsky, Tory Hanna, Greg Smith, and Chris Merenda Photo courtesy of Whiskey Treaty Roadshow

Though The Whiskey Treaty Roadshow has an easygoing vibe, they have been hard at work having just released a new album and are currently on a national tour.  They also boast a Berkshire-based, award-winning short documentary, Whiskey Treaty Roadshow:  Of Brotherhood, Music, and Fine Spirits that can be found here.

After a few encores, Whiskey Treaty Roadshow’s Billy Keane playfully sung an uplifting love song, Leave Your Light On with lyrics such as “If you admit I try and damn, look how much I’ve done/And my love for you is strong, look at the lengths in which I’ve gone,” a fitting end for a band that you should leave your light on for in the future.

This memorable, fun evening marks my first time concert experience at Club Passim, 47 Palmer Street in Cambridge, Massachusetts.  Convenient to the Harvard Square T stop, Club Passim features daily live concerts from promising to professional artists with some hailing from Passim School of Music.  Concerts are situated with table seating with their own restaurant serving appetizers, sandwiches, and more.  Click here for more about Passim and all the venue has to offer.

 

 

 

 

 

 

 

 

 

 

 

Renowned conductor Charles Floyd talks Boston Pops’ annual Gospel Night and how his career began

For 27 years, the Boston Pops have made Gospel Night a highly-anticipated tradition.  A glorious, enthusiastic audience which includes newcomers and returning fans greet conductor, pianist, and composer Charles Floyd, the Boston Pops Gospel Choir, and a selection of guest artists.  This year, award-winning Gospel singer Dottie Peoples headlines this year’s concert for one night only on Saturday, June 15 at Symphony Hall in Boston, Massachusetts.  Click here for more information and for tickets to this beloved annual event.

Renowned conductor, pianist, and composer Charles Floyd talks about his longtime role with Gospel Night, its evolution, and having dreams he never imagined would come true.

Charles Floyd leading the Boston Pops (Stu Rosner)

Renowned conductor, pianist, and composer Charles Floyd leading the Boston Pops Photo courtesy of Stu Rosner/Boston Pops

Sleepless Critic:  The Boston Pops Gospel Night is an incredible event each year.  The last time I went, it seemed like a nonstop celebration, joyfully continuing long after the concert was over.

Charles Floyd:  Everybody looks forward to that part of the program because it is probably the most energetic.  The music can be very exciting and uplifting.  We like to feature something that the gospel choir performs without the orchestra.

The orchestra wants to go into overtime and that gets into an issue, but if the building is still open, there’s no reason why the choir can’t stay to do a couple more numbers if they enjoy singing and the audience is going to stick around.  When the formalities are done, it’s a nice moment when people can just let their hair down.

SC:  The concert is so uplifting, you don’t want to leave.  You have been with Gospel Night for 25 years, almost since its start.

CF:   I appeared the second year.  I was called because the conductor the first year could not do it the second year.  I had to take a year away back in 2004, so this is my 25th and it’s their 27th, but I am celebrating 27 years just like they are.

SC:   It must be amazing to see how it has evolved over the years.

CF:   It’s been an honor to be a part of it.  I was working with Miss Natalie Cole for close to 14 years.  We had done a few concerts with the Boston Pops, and at the time, Maestro Lockhart and I were in the running in some capacity to step in.  Keith got the gig and I was very happy for him.  It was great for the community and I was somewhat new, and so they called and asked if I had done that sort of thing.  I said I have and only had about 6 weeks’ notice to prepare.

It was a little bit nerve-wracking to put together an entire program, write orchestration that didn’t exist, and then learn the classics and light classics on top of having to cater to guests artists.  We balanced out the program with Keith conducting the first part of the program and I conducted the third part of the program, Rhapsody in Blue.

Keith had to be at Tanglewood and other places as the date of Gospel Night moved around.  That’s kind of how it happened.  When the door opens, you walk through or the door might not open again and here we are.

Dottie Peoples Headshot 1

Award-winning gospel singer Dottie Peoples Photo courtesy of Boston Symphony Orchestra

SC:   Some of the best things happen spontaneously.  This year, Dottie Peoples will be the featured artist on Saturday, June 15.  Do you have a hand in who performs each year?

CF:   I am involved in the process.  I don’t always have control over who the artist will be because a certain artist I may want to work with may not be available, but they are nice enough at the Pops office to ask who they could look into.  They come up with their own ideas too.   We all put our cards on the table and explore the possibilities.

SC:  You have been part of the Gospel Night tradition for so many years and you have performed all over the world.  Music has been a part of your life since you were 4.

CF:  I used to bang on cables and pretend like I was playing.  Everybody thought it was cute.  By the time I got to a piano, I was 4 and I was already taking out melodies and ordering things by year.  It was another six months before I started taking formal lessons, but yeah, music has been a part of my entire life.

You never know what life is going to hold when you are young.  Just because you start playing the piano no matter how good or bad you are at it, there is no guarantee of what the future will hold.  I took physics and journalism as a back up in high school, but once I got to college, I dedicated myself completely to music and didn’t try to be a master of all trades.

All through 10 years of conservatory and grad school, it was all piano.  I was not a conducting major and I found myself in a situation where a conductor was needed.  I was the only person who could step in at the time, so I got serious about conducting.  I started studying all kinds of things such as opera, had to go through all the symphonies and all the major works of all the major composers.

I learned so much about accompanying singers with the baton from listening and attending operas.  I played for singers my entire life, but to watch a conductor accompany a singer is something I don’t think a lot of people really appreciate at least the way that I did and what I learned from it.  It’s been fun and as long as the work keeps coming in, that’s the greatest thing.  Just to keep going.

SC:  What have been your career highlights?  I understand you also performed Howard Shore’s ‘The Lord of the Rings Symphony‘ at his request.  That must have been tremendous.

CF:  I was trying to explain it to my sister and family not long ago.  People talk about having their dreams come true.  My situation is a little backwards.  It’s not a question of my dreams not coming true, but most everything that has transpired in my career were things I never dreamed of in the first place.

If I had said when I was eight years old that I would be at Symphony Hall with the Boston Pops or working with an orchestra at Carnegie Hall with James Taylor and Sting or sitting at an event next to Harry Belafonte or conducting orchestras for Natalie Cole or playing the piano for somebody else.  These are usually once in a lifetime events and I’m grateful that they continue to happen.  New things are coming in all the time and I couldn’t be happier or more grateful.

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